2007-11 Vital Source Mag – November 2007
The Art of Work
By Kerensa Edinger Milwaukee already has an art museum that in itself is a feat of engineering, but a museum dedicated to the art of engineering is another thing altogether. It may seem an anomaly, but we now have one of those, too. The new Grohmann Museum, on the campus of the Milwaukee School of Engineering (MSOE), is home to Man at Work: The Eckhart G. Grohmann Collection, the largest and most comprehensive of its kind. From agriculture to alchemy, coal mining to tax collecting, the approximately 700 paintings and sculptures display the vast breadth and evolution of human industry. With few exceptions, the artwork comes from the private collection of Dr. Eckhart Grohmann, an MSOE Regent, Milwaukee businessman and avid collector. Grohmann grew up in Germany, where he would often visit his grandfather’s marble processing business and quarry in Silesia (now part of Poland). In watching the stonecutters and sculptors toil to select and transform their raw materials, he developed an admiration for the beauty of work. To Dr. Grohmann, work is an essential, evolving aspect of human progress. Currently the chairman and president of Milwaukee’s Aluminum Casting and Engineering Company, which makes high-volume aluminum components for the automotive industry, Dr. Grohmann began his extensive art collection in the 1960s. Grohmann and his wife, Ischi, have long contributed to scholarships for MSOE students and donated funds to buy the property for the Kern Center, MSOE’s health and wellness facility, just a block from the museum. In the same philanthropic vein, Grohmann donated his collection for the purpose of establishing a museum and provided the funds to purchase and renovate the building that would house it. Constructed in 1924, the three-story, 38,000 square-foot concrete structure was home first to an automobile dealership, Metropolitan Cadillac, and then later occupied by the Federal Reserve Bank until 2004. To fit the needs of the Federal Reserve Bank, the building had relatively small windows and secure, anonymous entrances. MSOE purchased the structure in 2005; demolition and renovation began in September of 2006. Uihlein-Wilson, the project’s architects, kept the small windows –ideal for allowing in just enough light to preserve the delicate artwork – but replaced the corner of the building at Broadway and State with a glass cylindrical atrium capped by an open metalwork dome. Soaring over the museum’s entryway is the 700-square-foot mural, its two hemispheres, Vulcan’s Forge and Great Minds of History, linked by a spinning celestial wheel. Vulcan’s Forge reinterprets The Element of Fire, a 16th-century painting by a student of Francesco Bassano that depicts the Roman god Vulcan forging arrows for his son Cupid while Venus, combing her hair with one breast demurely bared, looks on. For his mural, the German artist H.D. Tylle lifted these primary figures from their cluttered, gloomy backdrop and set them against a simple landscape of rolling hills and blue sky. He used live models and new costumes to paint the figures, transforming the placid, stylized originals into striking creatures of flesh and blood. The […]
Nov 1st, 2007 by Vital Archives
Recalling the Wisconsin Idea
By Barry Wightman A century ago there was a political agenda known as the “Wisconsin Idea.” As Sanford D. Horwitt, author of Feingold: A New Democratic Party, puts it, the idea at the center of then-nascent progressive political thinking “became widely known as shorthand for new, enlightened rational government that would rein in laissez-faire capitalism, invest in vastly expanded educational opportunities and infrastructure, and use the expertise at the University of Wisconsin to create pioneering programs to promote the health, safety and economic interests of ordinary workers and farmers alike.” One would be hard-pressed to argue with that agenda. Famed Wisconsin Governor and Senator, Robert M. La Follette, one of Russ Feingold’s political heroes, personified the progressive Wisconsin Idea. And understanding La Follette is key to understanding our current senator. Having read La Follette’s autobiography as a high school student, Feingold was steeped in the progressive tradition. Simply put, true progressives believe in competence, community and thrift and are fervently against the power of big money and behind-the-scenes influence. With roots in the Northern European traditions of many of Wisconsin’s 19th century settlers, progressives cover a wide political spectrum that, in today’s terms, is neither red-state nor blue-state. And it is that pragmatic, party boundary-crossing approach that is central to Feingold’s politics. Progressivism as a coherent political movement is largely forgotten, its tenet planks scattered among the dusty platform statements of the two major parties of the 20th century. But Feingold is, by the historic definition, a progressive. Asked about the prospect for a progressive revival in 21st century America, Feingold was hopeful. Saying that his hero Bob La Follette would be “passionate” about today’s possibilities, Feingold is clearly working to speak for the independent, pragmatic and public-minded of Wisconsin. Those are not the words of cautious man. Feingold’s habit of confounding the leaders of the Democratic Party establishment would have been familiar to “Fighting Bob” La Follette. Feingold’s was the lone vote against the Patriot Act in 2001 and he was one of the few to vote against the authorization for war against Iraq in 2002. He was also the only Democrat to vote to continue the Senate Clinton impeachment proceedings in 1998 – a very unpopular position, at least among Democrats. And with Republican maverick John McCain, he has consistently championed campaign finance reform, attempting to drive corrupting big money from the national political process. Feingold, Horwitt writes, can be counted on to vote for reform, not to play it safe. As a result, Feingold frequently tangles with his more cautious contemporaries. His 2002 public dust-up with Senator Hillary Clinton on campaign finance – she claimed he wasn’t living in the “real world” – rocked the party boat, as did the recent failed Feingold-Reid Senate bill to end the Iraq war. Many Democrats veered away from him. But Feingold remains undeterred, going about the business of serving his state and nation unbowed by what some might perceive to be political failures. In speaking about the war at one […]
Nov 1st, 2007 by Vital Archives
