Midwest photo show at Walker’s Point opens December 6

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You are invited! I hope you’ll join me there.

The 7th Annual Midwest Juried Photo Exhibition, sponsored by Milwaukee’s Coalition of Photographic Arts (CoPA) will be held at Walker’s Point Center for the Arts, 839 S. 5^th St. Milwaukee.

December 6, 2013 – January 18, 2014



Opening Reception: 
Friday, December 6^th,  5 – 9pm


Gallery talk and award presentations by Juror Karen Irvine at 7pm



Closing Reception:
Winter Gallery Night, Friday, January 17^th, 5 – 9pm

The regional exhibition includes the work of 37 photographers from Wisconsin, Michigan, Minnesota, Illinois, and Iowa.

I am happy to announce that I’m one of the 37 photographers and here is a sneak preview of my print.

“Horizon” is from a series called Synecdoche: the fragment that represents the whole.

Synecdoche is a literary device in which the part represents the whole. ("All hands on deck!" refers to the whole sailor, not just the hands.) My images are meant to be visual examples of synecdoche, which I use metaphorically. My subjects are the complex and often paradoxical relationships that I perceive between nature and architecture, or natural and human features in the landscape. My approach, using the part to represent the whole, symbolizes the fragmentation we experience in our everyday environment.

The juror is Karen Irvine, Curator and Associate Director of the Museum of Contemporary Photography at Columbia College, Chicago.

Her bio, from CoPA: Karen Irvine has organized over forty exhibitions of contemporary photography at the MoCP and other institutions and written essays for numerous artist monographs and magazines. Irvine is a part-time instructor of photography at Columbia College Chicago. She received an MFA in photography from FAMU, Prague, Czech Republic, and an MA in art history from the University of Illinois at Chicago.

CoPA at Walker's Point Center for the Arts

Milwaukee's Coalition of Photographic Arts (CoPA) organizes an annual juried show that is open to photographers from throughout Wisconsin and several surrounding states. The current show is at Walker's Point Center for the Arts. Juror's Graeme Reid and Annemarie Sawkins picked a diverse selection of 40 images from 266 submitted. The work ranged in style from photojournalistic to abstract.

Onrush by Bernard Newman

At the reception last night Graeme Reid, saying he spoke for both jurors, extolled the overall quality of the work as well as the quality of presentation. I agree. While many of the photographers and some of the images represented in the show were familiar, it also was good to discover a few who were not.

Although I enjoyed many of the works in the exhibit, my personal favorites were a pair of prints from a series called "Duplex" by Madisonian Ken Oppriecht. I am attracted to them on several levels. Technically masterful and conceptually intriguing, they take their mundane subjects into creative and metaphorical directions that suggest a critique of contemporary culture.

from Duplex by Ken Oppriecht

(Full disclosure: I am both a founding member and a current member of CoPA. However, I am not included in the exhibit.)

Madison and Racine open photography shows this weekend

I am honored to be in two juried exhibitions that both open this coming weekend. When it rains, it pours.

Horizon

The Steenbock Gallery, in association with the Center for Photography at Madison will be showing 2012 National Juried Exhibition of photography through October 5. The show officially opened yesterday but the artists' reception is Friday, Sept. 7, 5 - 8 p.m.

The Steenbock Gallery is at 1922 University Avenue in Madison, WI.

And on Sunday, the Racine Art Museum presents Wisconsin Photography 2012 at its Wustum campus. The reception is 2 - 4 p.m.

The Wustum Museum is at 2519 Northwestern Avenue, Racine, WI.

Horizon II

This evite for the Steenbock just came in:

Crime Unseen at Museum of Contemporary Photography

The Milwaukee Art Museum opened its remarkable exhibit of Taryn Simon’s photography in September. With three impressive bodies of work of an important contemporary photographer, the show brings to Milwaukee work that is both significant and insightful. If you haven’t gone to see it yet, do so.

From The Innocents, Taryn Simon

The Innocents by itself is worth the visit. Simon’s portraits of people who have been convicted wrongly of crimes are powerful and challenging without being melodramatic or disturbing – although the stories that accompany each image should disturb and outrage anyone with a conscience. It remains on view through January 1, 2012.

If you are traveling to Chicago, a concurrent exhibit at the Museum of Contemporary Photography bookends the Simon show nicely. A group show called Crime Unseen has related themes. (In fact homage to Simon is paid by including one of her Innocents images.) Apparently, for contemporary photographers, crime not only pays – as dividends in art world caché – but also is in fashion.

Richard Barnes photographs of the Unabomber's cabin.

From the exhibition text:

“All of the artists in Crime Unseen grapple with a retelling of disturbing crimes. Using photography and other methods, the artists reactivate historical material and open it up to further contemplation. By drawing on techniques of photojournalism, forensic photography, and documentary landscape, the artists actively engage with myth and reality as they question the roles of memory, the media, and evidence in solving and remembering crime.”

Detail from Killing Season: Chicago by Krista Wortendyke shows one of several series of images of crime scenes arranged to resemble the skyline of the city.

“All of the work in this exhibition has tragedy at its root; every artist deals with materials and stories that stem from extremely serious crimes and real murders of real people. Yet they approach the idea of violent crime obliquely. There are no graphic images of real dead bodies here. The artists did not witness the crimes, and their photographs were all made after the crimes occurred—in most cases, long after. …Partly as a rallying cry against forgetting, they confront us with our perverse attraction to horror by skirting it slightly, bringing stories back to life, and demonstrating that the evil side of human nature unsettles our fundamental notions of security, humanity, and control. …By transforming history into something new and current, the artists discourage us from being passive and distant, and in so doing perhaps leave room for an implicit, liberating acceptance that human nature is sometimes unpredictable and flawed.”

The work is intriguing, if not as powerful and compelling as Simon’s. But I take issue with the last statement above. If there are flaws in human nature, so too in the “passive and distant” stance taken by these and many contemporary artists. The photography is technically excellent and conceptually engaging, but unemotional.

Perhaps it is a reaction to tabloid journalism with its devotion to graphic depiction and lurid detail, but contemporary artists can go too far with their “oblique” approach and banal aesthetic. If they wish to “confront us with our perverse attraction to horror” I think they just might want to skirt it less slightly. Taryn Simon’s work balances on that edge beautifully.

The circular images in Tooth for an Eye by Deborah Luster are intended to mimic the shape of a gunshot hole or the view through a gun sight.

However, it’s a strong show and worth checking out for yourself sometime before it closes January 15. The MOCP website has a thorough description of the show.

New Photo Expression 2011

New Photo Expressionism 2011 will be opening on Thursday, Oct. 13 at the Blutstein Brondino Gallery. Blutstein Brondino Fine Arts is a full-service gallery in the Marshall Building in Milwaukee’s Third Ward.  The gallery invited Milwaukee photographer Lawrence D'Attilio to be a guest curator for their first venture into contemporary photography.

I am one of eight Milwaukee photographers featured in the show. The others are Valerie J. Christell, Robert Israel, Dara Larson, William Mueller, James Seder, William Zuback, and D'Attilio himself.

Christell should be familiar to regular gallery night visitors to the Marshall Building. Her profound and disturbing images on social, political and philosophical themes have been on display in her own Merge Gallery until she closed it in August.

D'Attilio's work involves complex surrealistic photomontages. Israel takes somewhat traditional views of land and water and pushes them into places of mysticism. 

Larson has a long established career in traditional print media. This time out she integrates that expertise with photography, a new direction for her. Mueller’s whimsical "insects" and macabre set pieces are astonishing in their conceptual and technical virtuosity. 

Seder’s dark flower compositions are far removed from the usual clichés that the genre calls to mind. Zuback brings us enigmatic and very personal fabrications. 

Blowing in the Wind

The five pieces of mine in the show represent three bodies of work: The Icon Series, The Reverie Series, and Accidental Art. You can see examples on my website by clicking the links. This one (above) from the Icon Series is the most recent.

Thursday’s opening reception is from 5:30 to 8:30 pm. 

Blutstein Brondino Fine Art is at 207 East Buffalo Street, Suite 212.

I am obviously biased, but even if I were not in it I would want to see this exhibit. I hope you’ll join me there on Thursday evening.

In his curator’s statement, D’Attilio says of this show, “The safe sterility felt in some contemporary photography is here supplanted by work that appeals as much to the heart as to the brain.”

CoPA and contemporary photography

What is “contemporary photography?” On the face of it “contemporary” includes whatever is happening today and excludes work done before some unspecified point in the past. When applied to art and photography the meaning of “contemporary” is imprecise, elusive, and by definition always changing. For some it connotes “cutting edge” – work that pushes the boundaries of established practice, be it style, subject matter, use of medium, or concept. (An ironic conundrum for museums of contemporary art is what to call aging work in their collections.)

Perry Heideman

However, contemporary art, to use its general denotative meaning, is not always “cutting edge.” Never was, never will be. And while historians and some collectors will always be on the watch for what is new and different, novelty can be overrated and its value overestimated. (Market valuation of “contemporary art” during the 1980’s was an egregious instance of this phenomenon.) Art doesn’t have to be “edgy” to be meaningful, good, or creative. What it should be, in my opinion, is personal and original rather than derivative or formulaic.

Enter CoPA – Milwaukee’s Coalition of Photographic Arts – an organization whose stated goal is to “cultivate awareness of contemporary photography” with an emphasis on fine art photography. The annual exhibit that showcases the work of its membership is currently on display at the Mayer Building, 342 N. Water St. in Milwaukee’s Third Ward. 

I sat down to write a review of the show, which is a sprawling testament to the vitality and diversity of photography in Milwaukee, and which contains a range of styles, subjects, methods of presentation, and conceptual approaches that defies categorization. The edgy intermingles with the traditional. It is tempting to describe a few favorites and be done with it.

Michael Nowotny

But as I wander amongst the beautiful and stimulating images in the show, my thoughts are sidetracked by nagging questions about CoPA and it’s evolving identity. CoPA was founded in 2004 by a small group of photographers who wanted to network and to elevate the conversation about fine art photography in Wisconsin. Since then CoPA has grown tremendously and has changed. Many founding members have moved on. For some it no longer meets their personal networking needs; some feel that it is becoming more like camera clubs, which serve different functions for their members. (For an excellent description of the difference between a camera club and a group devoted to photographic arts, read CoPA president Robb Quinn’s essay on the subject.)

The current board of directors has struggled with this issue. Any successful organization with an open, self-selected membership is likely to face such an identity crisis. Success invites broader participation; an influx of new members risks a dilution of the original mission. 

William Zuback

 Full disclosure: I am not a disinterested observer. As both a founding and current member, I care about the direction CoPA takes and desire to see it function as intended. I believe that CoPA can be a voice for contemporary fine art photography. I also know that the challenge is real. New board members will be elected in May. Their leadership will be needed to realize CoPA’s potential as a vital force in the arts community of Wisconsin. But their deliberations would benefit from engaging in an energetic dialogue with those with diverse opinions who have expressed concern about the group’s changing identity.

Meanwhile, I consider the membership show to be required viewing for anyone who thinks they know what CoPA is about – or who simply wants to see a lot of wonderful photography. Of course, any open, non-juried show that includes over a hundred photographers is going to have a few weak spots, but overall the quality is remarkably high. When you come, I believe you will find some delightful surprises.

The exhibit is open daily from 12 – 6 pm through May 21.

For more information go to the CoPA website.

Robb Quinn

If you’re still with me and you do want a few selected favorites, read on. These are in no particular order. There are many more I’d like to have included!

Perry Heideman’s exquisitely realized and enigmatic urban fairy tales.

Joseph Baranowski’s angst-ridden triptych self-portraits.

Jennifer Loberg’s emotionally charged portraits of pain and disfigurement.

Robb Quinn’s 87-inch-long panorama of protest from Capitol Square in Madison.

Marcia Getto’s remarkably fresh take on El Rancho de Taos, NM, one of photography’s great iconic motifs.

Mark Johnson’s monumental yet surprisingly intimate, sensual, and alluring impression of Barbie.

Angela Morgan’s tiny image of an LP record rising incongruously, monolithic, amidst autumn weeds.

Judith Pannozo’s perfectly composed decisive moment of a strikingly stiletto-heeled woman balancing on the back of a bicycle.

William Mueller’s startling distortions in which ordinary objects metamorphose into brightly colored insects.

Tim Holte’s nearly volcanic explosion of ice on the shore of Lake Michigan.

Science, Poetry, and the Photographic Image

I just returned from Atlanta where I attended the annual conference of the Society of Photographic Educators (SPE). You can certainly be excused if you're not familiar with SPE (unless you're a photo educator!) I don't attend the conference every year, but it is a good way to feel the pulse of photography as it's being passed on to a new generation. I thought I'd share some of my experiences.

Room-sized, camera-less pinhole image by
keynote speaker Abelardo Morell (see below)

The theme of the conference was Science, Poetry, and the Photographic Image. Although any conference of photographers will be awash in photographic imagery, I saw scant evidence of serious science and less of poetry. I'll come back to the science in a moment. As a fan and occasional writer of poetry I was especially looking forward to seeing how these disciplines might be integrated creatively. But I was disappointed when two featured speakers gave it no more than an obligatory, almost dismissive nod. The third didn't even bother to nod in its direction.

An exception was Bea Nettles, who has been combining her mother's poetry with her own photographic images since 1972. That personal and loving collaboration has taken the form of a series of books that Nettles created using a variety of available technologies. Her presentation traced a history of those technologies, from a loose leaf binder full of collages paired with typewritten pages of poems through years of typesetting and offset lithography to her most recent foray into the new world of digital image-making and print-on-demand online publication. Her visuals showed how each new phase brought greater fluidity to the relationship between text and image and also resonated with my own bookmaking and publishing efforts, which have had a similar trajectory. (Her mother's poetry was quite good, too!)

Back to science. One of the featured speakers was Catherine Wagner, a highly decorated photography veteran with a long list of fellowships, awards, and exhibitions in major art museums. With no fixed style - she has a chameleon's sensitivity to her subject's context - nearly all of her work oozes with science. Her image above is a series of MRI scans of a pumpkin. Lest it seem boringly repetitive I suggest you check out this link to her website to see a similar series of scans of a pomegranate in a 40 ft. long museum installation. Wagner admitted that many of her scientific subjects can be intimidating for the average audience. Her solution is to "use beauty as a formal strategy for observation." In other words, whether or not you find the "typologies of scientific processes" fascinating you will suspend your reluctance to view them because of the exquisite beauty of the photographic images.

They are indeed beautiful. If I had to criticize her work, I would argue that its formal qualities may be too facile and her approach to her subjects too neutral. She appears to keep any potential for scientific controversy at the arm's length formal abstraction provides. The image below is from a series she calls Frankenstein in an overt reference to Mary Shelley's fictional character. Wagner likens these foil wrapped vacuum chambers, which are used for "experiments in high energy physics and synchrotron radiation research," to Shelley's Frankenstein. However, she misses an opportunity to relate her imagery to the darker implications of the impulse to create such "monsters" that is so much at the heart of Shelley's masterpiece.

The work that appealed to me the most was that of keynote speaker, Abelardo Morell. Although I've seen some of his decades-long experiments with the camera obscura before, I was not familiar with his name. If that is true for you, too, I am delighted to introduce him. The idea of a camera obscura (which means "dark chamber") predates the Italian Renaissance which gave it the name. A camera obscura is a device, usually a box, into which light is admitted through a pinhole in one side. An image of the scene in front of this device is projected onto its back surface. Renaissance artists used such a device to make accurate depictions of perspectival space and it is the distant precursor to the photographic camera. To make a long story short, Morell uses an entire room as a camera obscura, making a pinhole in a blackened window. He then photographs the image that is projected (upside down and backwards) onto the rear wall of the room - spilling across doorways and furniture, etc. The resulting photographs are simultaneously lovely and disorientingly surreal.

Out of what was overall a good conference, there was one bittersweet element. One of the highlights of every SPE conference is the opportunities that are available to visit local museums and galleries. Atlanta is home to one of my favorite museums, the High Museum of Art. Unfortunately, the major current photographic exhibition was the Cartier-Bresson retrospective that I'd already seen at the Art Institute of Chicago. Ah, but..., I thought, they also have an exhibit of Toulouse-Lautrec! I adore his work. My hopes were dashed, however, by the perceived borders of art that I find so limiting. The High graciously opened its doors after hours on Saturday night for a special viewing by SPE members...of the Cartier-Bresson show only - not the Toulouse-Lautrec show. All in all, however, Cartier-Bresson, arguably the most important, influential, and ubiquitous photographer of the Twentieth Century, is worth a second (third, fourth...) viewing. Familiar as the work is, it's especially instructive to see the less famous pieces.

Shanghai, 1948

His eye is unerring, able to capture a multitude at the exact instant when everyone in the crowd has an expression worth studying. I’ve made innumerable students memorize his immortal phrase, “the decisive moment.”

The exhibit wisely, I think, shows his work in different states, and with varying print quality. His images were made for publication in magazines and therefore he didn’t do his own printing for most of his long career. The “fine print” made with the luscious gradations of black and white silver gelatin that one learns to expect at a museum of this caliber has little meaning in this context. It was great to see the luscious ones alongside those of less discriminating quality. I overheard a photo teacher commenting on the low grade that a student would receive if a print of such poor quality made it out of their darkroom!

To view my photo essay from my visit to Atlanta, go to Images of Atlanta.

Presentation and Care of Photographs 101?

The topic of last night’s panel discussion in the Lubar Auditorium at the Milwaukee Art Museum was “presentation and care of photographs.”

That may not sound like the most exciting topic, but sparks flew from the beginning.

Zoe Strauss, a contemporary photographer, began by with the incendiary claim that “it’s the idea of the piece that’s the piece,” rather than the photographs themselves. While that’s a common conceptual artist’s conceit, she went on to show slides of her various cameras – which ranged from an inexpensive point and shoot to a top of the line DSLR – paired with images she’d made with each. Then she announced, “I don’t give a s**t which camera I’ve used.” She places equal value on the images made with all of them. (It was an amazingly refreshing thing to hear! I’ve been telling students for decades not to obsess about equipment – that cameras don’t take pictures; people do.) Strauss is known for displaying photocopies of her images on pillars underneath a freeway. To their credit, the three other panelists didn’t visibly blanch at her disdain of the preciousness of the original print or her ephemeral style of exhibition. In fact, they were up to the challenge. It was a provocative start to a stimulating discussion of the various ways to value photography.

Michael Foley, a gallerist from Foley Gallery in New York, followed Strauss. By contrast, his primary considerations, he said, are the quality of the materials used by the artist and the way the photographs are presented. His responsibility is to clients who want to invest in an artist’s work and the material worth and perceived longevity of the object is central to that end. But of course!

Although Nora Kennedy, a conservator from the Metropolitan Museum of Art, did come down predictably on the side of maximum control of the environment to preserve precious artworks in the museum’s collections, not all of her responses were so predictable. She cited two works at opposite ends of photographic history as posing particular challenges. One was an unfixed and therefore fugitive – highly fragile – photogram by William Henry Fox Talbot, one of photography’s progenitors. It can never be shown to the public because it would simply disappear if exposed to light. The other was Jeff Wall’s enormous photographs that are constantly illuminated because a light box is part of the presentation. Those incredibly expensive images inevitably will fade. Knowing this, she said, when a collector or museum purchases a print/light box from Wall he provides a second print – and even keeps it in storage – as insurance against the day when it will need to replace the first. (Of course that just kicks the conservator’s can down the road, doesn’t it?)

Max Yela, a specialist in book arts at the UWM Libraries, wrapped up the panel. He pointed out the special – and natural – relationship that photographs and books have always enjoyed. But from his perspective when an artist’s book is the goal then the images become subordinate to the book itself.  Agreed. Of course books can and are made from a wide variety of materials, both stable and unstable, just like photographs.

A lively discussion followed the opening remarks. It centered on questions such as, what constitutes an original in photography – the negative/digital file, or the vintage print? What is the proper role of reproduction in the viewing experience? And, how can a reproduction accrue value?

To all such questions the consensus of the panel was unanimous: “it depends!”

As I see it, the problem stems from a museum’s dual – and contradictory – responsibilities. Yes, a museum must preserve and protect original artworks. Yes, a museum must make their collections accessible to the public. Yes, these two goals can be incompatible. The solution for the fugitive Fox Talbot print is obvious: it can only be seen in reproduction. Kennedy mentioned a recent exhibit of similarly fragile autochromes (early color photos) at the Metropolitan. The originals were on display for a week before replacing them with reproductions. Were viewers of the reproductions duped? Did they have a less satisfying experience of the exhibit than the lucky few who went the first week? Assuming the Met informed its audience and created unimpeachable reproductions – and I’m willing to bet on the Met to have done both – I don’t expect so.

Why does the idea of displaying reproductions of art works rankle so many art museum curators when other kinds of museums use the practice routinely? Not long ago the Milwaukee Public Museum exhibited an “authentic facsimile” of the Dead Sea scrolls without irony, apology – or public outcry. Are art patrons so much fussier?

Don’t get me wrong, I would never argue that a reproduction would be a proper substitute if the original is available and circumstances permit it to be displayed safely. But I wouldn’t be calling this Arts Without Borders if I were not flexible in my thinking about how art can be viewed. And again to their credit, the curator, conservator, and gallerist all agreed with Strauss that artists should be encouraged to create with whatever materials are available, archival or not.

Bring on the temporary and ephemeral!

Evolving Practices in the Presentation and Care of Contemporary Photographs was hosted by the museum’s Photography Council.

Please feel free to leave a comment and continue the discussion.

The presentation was videotaped and is available in segments on you-tube: click here.

The Haggerty scores twice with Soth lecture and "The Truth is not in the Mirror"

Alec Soth began his talk in Marquette University’s lush new Eckstein Hall Wednesday night by quoting David Hockney: "photography is great if you're a paralyzed cyclops." Succinct and dramatic, that describes a common limitation of photography, which traditionally assumes a static viewpoint with a single lens. Many photographers have employed a variety of strategies to overcome this limitation, including Hockney himself who famously fragments his subjects with multiple images, evoking the analytic cubism of Picasso and Braque. Soth creates a body of work with a narrative arc that ties individual images together, albeit often rather tenuously.



David Hockney
Mother 1, Yorkshire Moors

Hockney and Soth are just two of the many photographers featured in the Haggerty's outstanding exhibit, "The Truth is not in the Mirror." The title of the exhibit refers to its theme of portraiture in contemporary photography and its thesis that many portraits today involve "highly constructed artifice." Formal portraiture, in which the gaze is direct and the pose deliberate, has always had to deal with artificiality, but, according to the catalogue essay, these photographers "challenge or trick the viewer into looking deeper into issues of identity, with those portrayed serving as ciphers for the photographer's point of view."

In his talk, Soth took up that last point directly, expressing his personal preference for situations in which he knows little about the subject he is photographing. He likes to project his own imagination onto them. This flies in the face of a conventional wisdom practiced by many photographers who often go to great lengths to know their subjects as intimately as possible. A personal favorite practitioner of this latter style is Mary Ellen Mark, who, for example, once spent three weeks living inside the maximum security section of a psychiatric hospital in order to establish personal relationships with the patients in Ward 81. Soth, by contrast, relishes brief interactions. The image below, which is in the exhibit, took 15 minutes, he said, and he knew nothing about the woman, except that on Ash Wednesday the mark on her forehead was made with cigarette ashes. Soth likes to create narratives, but he wants them to be his own ("artificially constructed") narratives. His subject is indeed a cipher for his point of view.

Alec Soth: Adelyn, Ash Wednesday

The complete title of Soth's talk was "The Paralyzed Cyclops in the Democratic Jungle." Showing a screen capture of the 2 billionth photo uploaded to flickr, he made a compelling case for the obsolescence of the idea of the "democratic jungle" explored by William Eggleston and since then countless people with cell phone cameras. In a book called "The Democratic Forest" Eggleston pointed his camera at anything and everything, the ordinary and the familiar, democratically. But, Soth says, it's been taken too far. If everything is interesting then nothing is. His solution is to cut through the democratic jungle with "the narrative machete," or images that point to a larger story. That his narratives are fabricated rather than journalistic is the reason his work fits so well into "The Truth is not in the Mirror."

The title of the show recalls "Mirrors and Windows," the legendary 1978 exhibit at the Museum of Modern Art by John Szarkowski (which I still remember seeing when it came to what was then called the Milwaukee Art Center!) Szarkowski identified two strains of photography: it can be a mirror, reflecting the mind of the photographer, or a window, through which one sees the external world. The exemplary collection of images in this exhibit seem to take a more nuanced position, to challenge the distinction between mirror and window. They are windows into a kind of reality, but one that can't be trusted to represent anything other than the artist's intentions.



Alec Soth
Patrick, Palm Sunday

"The Truth is not in the Mirror” continues through May 22. There will be a panel discussion about the exhibit next Wednesday, Feb. 2 at 6 pm. Additional programming and other information available at Haggerty Museum of Art.

With two runs already in, the lineup at the Haggerty makes it look like they will score again.