War: Missing in Action? An interactive installation at Merge Gallery

The United States has been at war for nine years. But, while our tax dollars have poured into Afghanistan and Iraq and our young men and women have fought and died, for the most part, our attention has been elsewhere. I don’t believe Americans typically think about being at war on a regular basis. The evidence doesn’t support such a conclusion. Unless you have a family member or friend in the military (which I don’t), the wars in Iraq and Afghanistan rarely intrude on our daily lives. They show up in the news with some regularity, of course, but these are wars interrupted by commercial messages—often overshadowed by commercial messages.

Along with the general public, artists largely go on about their business despite the ongoing wars. This is true of my own art work, although I try to keep abreast of world events. However, it is emphatically not true of the two artists who collaborate on an installation at Merge Gallery in Milwaukee’s Third Ward. It is called War: Humanity in the Crosshairs. Although the show has been up since the Fourth of July—no coincidence—I just got around to seeing it last weekend. Merge occupies a small space tucked away in a second-floor corner of the Marshall Building. The walls are rough bare brick. It’s a good setting for the stark, often rough images that surround you as you enter. Rows of what appear to be heavy caliber bullets (they are really metal pressure valves) are hung from the ceiling, creating an immersive experience; one must weave around them to see the work. It is immediately clear that this is not going to be standard art gallery fare.

War: Humanity in the Crosshairs is a collaborative installation by gallery owners Valerie J. Christell and Tori Tasch. They work separately in a variety of media, but their individual contributions complement each other beautifully and create a powerful and engaging combination.

This image from the installation pairs Christell’s “Residual Pain/Mines” (top) with Tasch’s image of a World War II era pin-up girl surrounded by the scrawled musings of sailors. The latter was inspired by the artist’s recent visit to the USS Bowfin, of WWII vintage. Christell’s work relates to the current conflict and sometimes incorporates photographs taken in Afghanistan by her son. Of this and similar pairings Christell says “the similarity between the gestures of sex and death is powerful.” It is indeed and so is the total effect of the installation, which has provoked many “thoughtful conversations.” I am not surprised. Art can—and should—serve many functions. Unfortunately, in my opinion, its function as the conscience of the culture seems to have gone out of fashion. But at what cost? The Merge installation seems to have tapped into an unsated hunger. Christell shared this observation: “Over and over I hear [from visitors] that, in spite of how tough the images/concepts are, this is needed.” I agree and I applaud Merge for providing it.

The mission of Merge Gallery is “to broaden audience awareness of social issues through the blending of artistic viewpoints.” Christell and Tasch plan to present a new theme related to contemporary issues and current events every three months. I for one look forward to the next installation. We need a venue for art that tackles the tough issues.

War: Humanity in the Crosshairs will be on display through October 2. Merge is located at 207 E. Buffalo St, Suite 204. Hours are noon – 4 pm Fridays and Saturdays.

You can see more images from the show at Valerie Christell’s website.

Starving Artists smile at Mount Mary College

To misquote one of my favorite lines from one of my favorite old movies, Little Big Man—“It’s a good day to starve.” Today was one of those perfect, crisp, almost-autumn, apple-picking days when the sun melts over everyone like hot caramel. I did go apple-picking at Barthel’s farm in Mequon. Then, on my way home, I stopped at Mount Mary College to check out their Starving Artists Fair.

I’ve always worried over that name—“starving artists.” Doesn’t it sound just the teensiest bit patronizing? But it seems to work as a marketing ploy, not only for the art-buying public, but for the artists, too. I spoke with several who unanimously agreed it had been a great day. I arrived late, after the grass had been completely flattened and some of the booths stripped of their wares. Photographer Fred Fischer said I should have been here at 10 a.m. when they opened the gates. Apparently it was like opening the doors of the mall on Black Friday. Or, to outrageously mix my metaphors, like the start of the running of the bulls in a china shop!

Life imitates art?

With low booth fees and lots of sales, the artists did well. (They come from all over the state year after year; it has to be worth it.) With the maximum value set at $100, the price conscious art-buying public did well. (For the artists that’s a thankfully higher maximum than past fairs.) And with hordes of people paying $5 entry fees and buying refreshments, the college did well. Sounds like a win-win-win to me. Although, by design, this fair caters to lowest economic denominators of art (I overheard one potter confide that he brought only his ‘seconds’ along), it’s nothing to shake a rag at when art sells during a recession.

And, just as the old Indian in Little Big Man didn’t die that day, no one at Mt. Mary seems to have starved either.

Art reflects life?

If you missed this one and have a hankering to go to an art fair, you’re in luck! The Hidden River Art Festival in Brookfield is next weekend.

Christo accused of being an “eco-terrorist”

Christo is famous for wrapping both landmarks and landscapes with immense amounts of fabric. His most recent project was the widely celebrated “Gates,” for which he erected 7,500 gate-like structures draped with saffron colored curtains in Central Park, New York City in 2005. His current project, if allowed to proceed, will cover 42 miles of the Arkansas River in Colorado with a fabric “roof,” as illustrated in the design collages below. He calls it “Over the River.”

Christo doesn’t take the “if allowed to proceed” caveat lightly. In fact, much of the years of time and effort that goes into his monumental and temporary works of art are devoted to obtaining the necessary official permissions and convincing a skeptical, sometimes hostile, public that it should be allowed to proceed. Yesterday the Wall Street Journal published a story entitled “Christo vs. Colorado” about the controversy and economic implications of this project. I won’t repeat the whole story, since I’m hoping you’ll click on the link and read it for yourself.

Christo’s work is always controversial for a variety of reasons that range from politics to concerns for the environment. I find it remarkable that, aside from its staggering cost—the “Gates,” which had a two-week duration, cost $21 million—the value of the work as art is less often called into question than how much disruption it will cause. That is the case in Colorado, where, according to the article, some of the most vocal opponents live in the town of Cotopaxi (pop. 3,220) where they have a single two-lane road going in and out of town and object to the prospect of two weeks of traffic jams caused by the tourists (estimates range up to 300, 000) who will flock to the region.

In what seems to be a particularly egregious example of the hyperbolic and vitriolic extremes typical of what passes for public discourse in the U.S. today, an opposition group calling itself “Rags Over the Arkansas River” has labeled Christo an eco-terrorist. (Exhaustive environmental impact studies, along with negotiations with all sorts of regulatory agencies, are standard to his planning.)

If you are a regular reader of Arts Without Borders you may have noted that the Wall Street Journal is not my usual source of news. Someone who knows my interest in art passed it on to me. I found the article fascinating as much for what it didn’t cover as what it did. It’s a thorough and interesting account of the planning, logistics, financial considerations, and (of course) controversies that surround Christo’s work. But, except for some brief quotes by the artist himself, the reporter never describes the aesthetics of the work or offers any kind of critique of it as art. (I guess I won’t pick up a subscription.)

The article says that this “may be his last major project.” Christo is 75 and recently lost his wife and collaborator, Jeanne-Claude. That and the long time it takes to accomplish his projects make it seem likely, unfortunately. If the residents of Cotopaxi relent, the project is expected to be erected in 2013, so hold off on reserving your tickets to Colorado.

Unofficial gallery night this Friday in Milwaukee

Officially, gallery night (and day) comes around four times a year. I enjoy gallery night, especially when the weather is good. It’s great to rub shoulders with so many folks out to see art—and in some of the busier locations I often literally do rub shoulders; it has gotten that popular. But there’s a down side to gallery night, and it’s due largely to its popularity. The art seems to be taking a back seat to the socializing.

I’m all for socializing, especially with people who like art. It beats sitting home alone—and it’s good for one’s mental health as well.

On the other hand, if you want to see art, this Friday is shaping up to be a mini gallery night, judging from the surprising number of openings. Not being an official gallery night, you’re less likely to run into the pure socialites and more likely to run into to pure art lovers.

Here are my picks for Friday, Sep. 10. There are others, but one can only do so much and I hope I make it to all of these. Unfortunately, they are all over the map! (Which will make it hard to get to them all, but is also nice to note.)

Walker’s Point Center for the Arts is having its annual membership show opening. Their website is down for some reason, but you can still get the info and address by clicking here.

Alverno College is showing Pause to See: A Photographic Journey through Bhutan, Nepal, Thailand and Ecuador by Suzanne Garr. Sounds to me like she’s covering a lot of territory there. Click here for info.

Cardinal Stritch University is hosting the “90-day lawn ornament” by Gary John Gresl. The title itself is intriguing but for anyone who knows Gary’s penchant for intricate and provocative assemblages, this sounds like a must-see. Click here for info.

There is always something happening in the Marshall Building in the Third Ward. Light Ideas Gallery is opening "The Freetimers Book of Light"—a group photography show to benefit AWE (Artists Working in Education), a great program to support! Click here for info.

If the Latino Arts Gallery at the United Community Center is not on your list of regulars, I recommend you add it. The show that opens Friday is Luis Barragán Legacy. Barragán is one of Mexico's most important architects and probably THE most important modernist. The image below is from this show. Oh, and you don't want to be late for this opening - the UCC puts out the best appetisers and they go fast! Click here for info.

Let me know where you’ll be going and I’ll try to bump into you there. (gently.)

Google makes graphic design fun

It may not be Fine Art, but go to Google right now and watch what happens when you roll your cursor over the logo. (There's a reason this blog is called Arts Without Borders.) It's fun and interactive graphic design. I teach logo design and I love the way Google frequently livens their logo with designs that are not only creative and visually interesting but which often lead to something informative if you click on them. (Not today.)

Magic happens at the Lynden Sculpture Garden

Anyone who has been following Arts Without Borders knows of my fondness for sculpture parks, places with that delightful dual personality so appealing to my own dual predilections: art and the wilderness. You will also have heard of Milwaukee’s lovely example, the Lynden Sculpture Garden, which opened to the public in May. (If not, see previous post.) Well, today I learned that the Lynden Garden is not simply delightful; it is magical.

The air was fresh and the lawn soggy with last night’s rain. The brown-eyed susans and goldenrod were resplendent in that slanted glow of early morning light that is soon to be dimmed by an approaching storm. As I strolled along the edge of the pond, volley after volley of tiny frogs erupted from its grassy verge, hundreds of them plopping with tiny splashes into the water. A flock of geese flew over, circled round, and fled, for once without a sound. All the while I walked along, enchanted by the contrast of motionless sculptures and restless scenery. And that was marvelous enough, but when I reached Linda Vitamas’s installation I almost felt like I’d entered a fairy tale. (OK, now if you didn’t read my earlier review of Linda’s piece, catch up by clicking here.)

When last seen . . . (imagine a low register organ in hushed tones), meager remnants of the diminutive unfired earthenware bowls lay crumbled and slowly dissolving into the rusting steel beam on which they had been so lovingly placed. But, lo and behold…(crescendo!), they have miraculously reappeared!

If you missed the original installation—as I did—now you can see the piece as it was intended to be seen when installed. Except that there is a significant difference: the current iteration of the piece combines the new little pots—sprung up on the steel bar like mushrooms after a rain—with the last residual crumbs of the old. Most of the original pottery has returned to its earthen nature, some has washed entirely away. The new little bowls, in casual stacks, contain puddles of yesterday’s rain, the beginnings of the next cycle of decay and dissolution. “And to make an end is to make a beginning. The end is where we start from,” in T.S. Eliot’s famous words.

Lovely. The artist as Tinkerbell, waves her wand and up sprout new little art forms. I’m enthralled.



But—full disclosure—I am not a dispassionate observer. (Passionate, definitely passionate!) I was on the grounds today to do my own bit of conjuring. As I reported earlier, Vitamas and Kevin Giese collaborated in an on-going project of the Garden called Inside/Outside. I am honored to have been invited to do the next installation in the series. My collaborator is Phil Krejcarek, professor of art at Carroll University, which hosted my installation last year called Accidental Art: construction fences in the landscape. Stay tuned for more details to follow, but the show, which opens Oct. 24, will involve fences and sculptures.

To see examples from Accidental Art, go to my website.

Portraits of Oaxaca at Gallery H2O

There’s something about Oaxaca, something hard to define, hard to explain to someone who hasn’t been there. Oaxaca is one of those places—I’ve been to a few—where, no matter how long it’s been since your last visit, you want to go back. I’ve only been once, too long ago now, and I’ve just seen a marvelous little exhibit of photographs that reminds me that I want to go back.

Oaxaca is one of the most diverse states in Mexico, with rugged terrains, the seacoast, and ancient cultures. Textiles, ceramics, the distinctive brightly painted wood carvings, and numerous other arts and crafts make it a paradise for aesthetes like me. The food…! Don’t get me started. (Molé sauces to die for!)

Ah, but the people…. It is the beautiful Oaxacan people that Milwaukee photographer Claire Ruzicka focuses on, quite literally. Her carefully composed and exquisitely printed black and white images show the people at ease amid the bustle and patterned backgrounds of daily life. Reading from the accompanying text, I found it remarkable to learn that she had been there but a short while. The comfort that her subjects display in front of her camera usually requires the kind of bond that doesn’t happen quickly.

I happened across this exhibit at Gallery H2O in Milwaukee’s Third Ward (221 N. Water St.) when I stopped in for some of Mary’s excellent soup—the gallery’s alter ego is Soup’s On. It’s always fun to stop in and see the eclectic variety of work on the walls there. Make sure you try the homemade soup while you’re there, too! And say hi to Mary for me. Tell her Eddee sent you.

P.S. Ruzicka's photos will be on display through Oct. 8, so there's plenty of time to stop by.