MAM Insider | Summer 2010 by Milwaukee Art Museum

Lakefront Festival of Arts June 18, 19, 20

Warrington Colescott Summer 2010

Opens June 10

through sept 6, 2010

summer 2010 on view 4 american quilts

Through Sept 6

7 aids memorial quilt

June 8–20

8 Warrington colescott

Opens June 10

12 Portrait Miniatures Opens July 8

14 theaster gates

Through Aug 1

16 From the Collection

profiles 17 john glembin 18 patricia buch

happenings 19 20 22 24 25 26 28 29 30

family Sundays, art Camps kohl’s art generation Lakefront festival of arts

marketplace/wine festival member extras Raphael/art in bloom photos mam after dark cafÉ calatrava museum store

Admission All programs and events are free for Members (or with Museum admission for non-members) unless otherwise noted. Photography courtesy Front Room unless otherwise noted.

front cover Maker unknown, Appliqué counterpane, 1800–25. Courtesy, Winterthur, Museum purchase with funds provided by Mr. Samuel Pettit in memory of his wife, Sally Pettit. back cover Warrington Colescott (American, b. 1921), Santiago Calatrava at the Bal du Lac, 2001 (detail). Gift of Print Forum. Photo by Michael Tropea. © Warrington Colescott

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Dan Keegan portrait courtesy Milwaukee Journal Sentinel.

Director’s Letter During the summer months, Milwaukee explodes with festivals that celebrate its rich tapestry. And the Museum is no exception. The calendar enclosed is your guide to the not-to-be-missed happenings at the Museum throughout the welcomed warmer season, including the Lakefront Festival of Arts, which this year, extends into the Museum. I hope to see you often at these events, the exhibitions, and in the Museum’s Collection. The American Quilts feature exhibition celebrates tapestry in a more literal sense. We are delighted to present this stunning selection of quilts from the renowned Winterthur Museum. Over 70,000 people came to the Museum in 2003 to see The Quilts of Gee’s Bend, an unforgettable exhibition of quilts made by women in the isolated community of Gee’s Bend, Alabama. The New York Times praised the Gee’s Bend quilts as “some of the most miraculous works of modern art America has produced.” I welcomed the opportunity to present American Quilts as a counterpoint to this earlier exhibition, sharing these extraordinary works of art and the stories they tell of women and life in the early American republic. Beautifully complementing the American Quilts exhibition from June 8 to June 20 is a display of nine panels from the AIDS Memorial Quilt, reinforcing the relevance of quilts yet today as repositories of our memories: in this case, of those lost to AIDS. Remember: through your membership and continued support of the Museum, you provide the foundation that makes these experiences possible, and it is sincerely appreciated. I hope you are proud of the rich cultural community you help create, and that your ongoing relationship with the Museum will inspire you to renew or even upgrade your Museum membership. I encourage you to purchase a gift membership and share the priceless experience of art with someone special, or to make an added contribution to sustain education programs, exhibitions, and all that keeps your Museum vibrant. Thank you for your part in strengthening the Museum.

Dan Keegan, director

Regards,

Dan Keegan director

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on view | american quilts now on view | through sept 6, 2010 | Baker/Rowland Galleries

More than forty quilts from one of the worldâ&#x20AC;&#x2122;s finest collections of historic quilts are on view at the Milwaukee Art Museum. These extraordinary works of art, with their skillful needlework, graphic patterning,

and use of color, document the lives of their makers and the cultural landscape of the early American republic. Weaving through the exhibition is the story of Mary Remington (1792â&#x20AC;&#x201C;1820),

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Rebecca Scattergood Savery, Pieced quilt, 1827 (detail). Courtesy, Winterthur, Museum purchase with funds provided by the estate of Mrs. Samuel Pettit and additional funds by Mr. Samuel Pettit in memory of his wife.

a young woman from Rhode Island who created an intricate quilt in anticipation of her marriage. Mary’s elegant whitework bedcover features cornucopias, floral sprays, and swags—all fashionable motifs in the early 1800s—and neoclassical designs that can be linked directly to architectural pattern books. Unusual, however, is the detailed Remington family coat of arms at the quilt’s center. Prestigious schools taught this type of ornament to girls for silk embroidery, but Mary’s bedcover is the only known American quilt with an armorial design. This single, rare quilt at the start of the exhibition introduces themes of design inspiration, pride in family heritage, and the symbolic role of a quilt in its maker’s life. Equally interesting is Mary’s cache of letters to her fiancé, and later husband, Peleg Congdon. As Peleg traveled the world, Mary wrote to him not only about literature and their relationship, but also about politics, international trade, and the War of 1812. Mary’s written words are signposts throughout American Quilts, providing insight into the technical aspects of quiltw w w.mam.org

making, the emergence of the American textile industry, the international influence in quilt design, and women’s deeply felt involvement in political discourse. Each object in this exhibition unravels a story. A 6,708-patch starburst quilt was made to celebrate a marriage that sadly never happened. A quilt that an isolated Maine woman made with one hundred dress silks imported from England and China allowed her to unwittingly witness the global economy. Generations have carefully preserved these quilts not only for their patterns and colors, but also because each quilt is a multilayered repository of history and memory. Sponsored by the Milwaukee Art Museum’s

The exhibition is organized by Winterthur. The exhibition is curated by Linda Eaton of Winterthur and organized at the Milwaukee Art Museum by Mel Buchanan, Liz Flaig, and Catherine Sawinski. above Mary Remington, Whitework dressing-table cover, 1815–17 (detail). Winterthur Museum, Museum purchase.

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American Quilts Programs + Events Gallery Talks Tuesdays, 1:30 pm June 15 | Quilts as Repositories of Memory (includes discussion of AIDS Memorial Quilt) July 27 | Quilts through Time 30-Minute Express Talks Every Thurs, June 3–Sept 2, noon Laurel Thatcher Ulrich Lecture and Dinner Thurs, June 3, 6:15 pm Look back with esteemed historian Laurel Thatcher Ulrich at how a single object can offer profound insights into our history. Dr. Ulrich won a Pulitzer Prize for A Midwife’s Tale and coined the slogan “Wellbehaved women seldom make history.” Optional dinner to follow at 7:30 p.m. For details, contact Mel Buchanan (414-224-3281 or mel.buchanan@mam.org) Sponsored by the American Arts Society

Book Salons Saturdays, 10:30 am June 5 | A Midwife’s Tale by Laurel Thatcher Ulrich Aug 14 | How to Make an American Quilt by Whitney Otto

Amish Quilt Auction Sat, July 24, 9 am–1 pm Registration: 8 am Get in on the excitement, as Mader & Mader Auction Services auctions up to 200 authentic Amish quilts. There is a 10% buyers fee in addition to the final bid. Mastercard or Visa accepted. Wis. Reg. License #892. The auction is presented in conjunction with the Museum’s 6th annual Milwaukee Artist Marketplace (see p. 24). Quilt Documentation Day Sat, Aug 7, 10 am–4 pm Bring your family’s quilts into the Museum to be recorded in the database of the Wisconsin Museum of Quilts & Fiber Arts. Exhibition Catalogue Quilts in a Material World: Selections from the Winterthur Collection Available in the Museum Store and at mam.org/store 207 pages, hardcover: $40/$36 Member

RSVP: 414-224-3826 or amy.kirschke@mam.org. All books available through the Museum Store. Martha Agry Vaughn, Pieced quilt, ca. 1805 (detail). Courtesy, Winterthur, Museum purchase.

on view | Aids quilt opening | June 8–20, 2010 | Schroeder Galleria

The NAMES Project AIDS Memorial Quilt In connection with the American Quilts exhibition, the Museum is honored to present nine specially selected sections from The NAMES Project AIDS Memorial Quilt. The panels that will be on view include contributions by fashion designers Dolce & Gabbana, Versace, Ralph Lauren, Isaac Mizrahi, and Oscar de la Renta, among others, as well as the original quilt designed by the Milwaukee AIDS Project (now the AIDS Resource Center of Wisconsin, or ARCW). The AIDS Memorial Quilt, in its entirety, comprises more than 91,000 names on 45,000 panels and is the world’s largest community folk art project. Stitched by individuals and shared by communities, the quilt is a poignant and beautiful tribute to the men, women, and children lost to AIDS. Since the founding of the NAMES Project in 1987, blocks from the AIDS Memorial Quilt have been viewed by more than 18 million people, have raised more than $4 million, and continue to serve as powerful educational tools for preventing new HIV infections. This special exhibition is open to the public; Museum admission is not required. The dates for the display overlap with Milwaukee’s PrideFest, June 11–13, 2010. This presentation of the AIDS Memorial Quilt is supported by the Greater Milwaukee Foundation Johnson and Pabst LGBT Humanity Fund and the AIDS Resource Center of Wisconsin. It is organized at the Museum by Mel Buchanan. top AIDS Memorial Quilt block with panel designs by Donna Karan, Mary McFadden, and Tommy Hilfiger. bottom AIDS Memorial Quilt block with panel designs by Joe Boxer, Isaac Mizrahi, and Anna Sui.

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on view | warrington colescott opening | June 10–sept 26, 2010 | contemporary galleries

Warrington Colescott: Cabaret, Comedy & Satire Warrington Colescott’s prints are riddled with complexities and contradictions, stinging satirical barbs and playful jokes, and exuberant color and subtle tonal variations. Now eighty-nine years old, this Wisconsinbased artist is one of the elder statesmen of American printmaking and, perhaps, the reigning dean of color intaglio. This retrospective exhibition honors the celebrated artist and features more than one hundred prints from his sixty-year career. Colescott once expressed his fascination with “that black zone between tragedy and high comedy, where with a little pull or push one way or the other you can transmute screams into laughter.” He approaches this “black zone” as an equalopportunity satirist; his targets include scientists, Greek gods, print collectors, tofu lunches, academics, the afterlife, presidents, joggers, famous printmakers, and showgirls, to name but a few. His wit is as sharp and complex as his etching technique, which combines cut copper plates and found material with skillful à la poupée inking, stencils, rainbow rolls, and an occasional dusting of glitter. At the heart of Colescott’s enterprise is a deep love of farce and the burlesque. One can almost hear the music as the actors in his prints play their parts, complete with pratfalls, scandal, and a heaping dose of good-natured satire. Colescott first discovered vaudeville as a teenager in Oakland, California, and it has informed his outlook ever since. Past artistic masters, includColescott, ca. 1966

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on view | warrington colescott Warrington Colescott (American, b. 1921), Santiago Calatrava at the Bal du Lac, 2001. Gift of Print Forum. Photo by Michael Tropea. © Warrington Colescott

ing eighteenth-century satirists William Hogarth and James Gillray, as well as more recent forebears such as Käthe Kollwitz, George Grosz, and Otto Dix, also inspire the artist. However, he is far from being stuck in the past—current popular culture is simply too tempting to resist. Colescott is, perhaps, at his comedic best when mixing past and present, fact and fiction, in suites and series based on a loose narrative idea. This is seen in his masterpiece The History of Printmaking, in which he combines art historical fact with his own unique brand of irony and invention to imagine scenes from the lives of famous graphic artists. The work, as he promised in a grant application, is “in turn humorous, grim, ribald, educational, violent, respectful, sexy, disrespectful; but always tastefully drawn, with authentic detail, impeccably costumed, w w w.mam.org

even in the nude scenes, and extremely democratic.” Today, Colescott shows no signs of slowing down or softening his approach. Instead, he carefully observes our world; finds the ironic, humorous, or absurd edges to it; and reaches for his etching needle to prepare another signature Colescottian view of the world. He lives by a simple creed: “If you seduce, do it with wit and creativity. If you attack, do it with skill. If you educate, do your research. As a satirist I try to have a lot of eye, good hands, and plenty of attitude.” Sponsored by

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on view | warrington colescott

Warrington Colescott (American, b. 1921), My German Trip: I See Berlin, the Underbelly. Grosz Takes Me to Cafe DePrave Where Madonna Is Having a Scandalous Success, 1992. Purchase with funds from Print Forum. Photo by Michael Tropea. © Warrington Colescott

Warrington Colescott Programs + Events

Artist Lecture and Reception: Living Dangerously: The Art of Visual Satire Thurs, July 8, 5:30–8 pm | Lecture, 6:15 pm Includes book signing

Opening Reception Thurs, June 10, 5:30–8 pm Lecture: 6:15 pm, with the artist Appetizers and cash bar Optional dinner to follow in Café Calatrava, $50/person. Reservations required. Call Krista Renfrew at 414-224-3856 by Thursday, June 3.

Lecture sponsored by the Wisconsin Academy of Sciences, Arts, and Letters; reception sponsored by Print Forum.

Book Salon Sat, July 10, 10:30 am Death in Venice by Thomas Mann RSVP: 414-224-3826 or amy.kirschke@mam.org. Available at the Museum Store.

Gallery Talks with the Curator Tues, 1:30 pm June 29 | 60 Years of Printmaking: Exhibition Overview Aug 10 | Colescott the Historian

The Prints of Warrington Colescott: A Catalogue Raisonné, 1948–2008 By Mary Weaver Chapin

Gallery Talk with the Artist Tues, July 20, 1:30 pm

Available in the Museum Store and at www.mam.org/store. 354 pages, hardcover: $85/$76.50 Member

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on view | warrington colescott Warrington Colescott (American, b. 1921), The Last Judgement: Judgement, 1987 (detail). Gift of the artist and Frances Myers. Photo by Michael Tropea. © Warrington Colescott

Also on view See a selection of works by Warrington Colescott’s artistic influences—Henri de Toulouse-Lautrec, Käthe Kollwitz, and George Grosz, among others—on display on the Mezzanine Gallery, June 8–October 3, 2010. George Grosz (American, b. Germany, 1893–1959), Soirée, 1922, plate IX from the book Ecce Homo, 1923 (detail). Gift of George and Angela Jacobi. Photo by John R. Glembin.

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on view | Portrait Miniatures opening | july 8–oct 10, 2010 | koss gallery

Intimate Images of Love and Loss: Portrait Miniatures The portrait miniatures featured in Intimate Images of Love and Loss are from continental Europe, Britain, and America, and were drawn from the Museum’s Collection and a number of Milwaukee-area collections. The small-scale portraits, most measuring less than three inches tall, are painted on ivory and set within beautifully made cases of glass and metal. The more than sixty objects in the exhibition, now on display as works of art, were once highly personal possessions that were held and worn. Miniatures developed from illustrations in medieval illuminated manuscripts. The word “miniature” derives from the Latin word miniare, meaning “to paint with red

from left John Barry (British, active 1784–1827), A Young Girl, ca. 1790. Gift of Richard and Erna Flagg. Moritz Michael Daffinger (Austrian, 1790–1849), Young Man in Blue Suit, ca. 1815. Gift of Mrs. Albert Friedmann.

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on view | Portrait Miniatures

The word derives from the Latin word miniare, meaning “to paint with red lead,” which was one of the techniques used to color manuscripts. lead,” which was one of the techniques used to color manuscripts. Eventually, these illustrations within the text were viewed as small paintings, and were produced independent of the manuscripts. The word “miniature” to mean something small came later. The portrait miniature emerged in the sixteenth century when nobles used them as gifts to make political alliances. With the rise of the middle class and the tendency towards sentimentality in the late eighteenth century, the demand for portrait miniatures skyrocketed. Their small scale reflects their domestic and private role. Commonly worn as jewelry, they were also

displayed on the wall of the home as a type of “family album.” Often miniatures were framed with arrangements of hair from the one portrayed to strengthen the personal connection or as a remembrance of a deceased loved one. Sponsored by the Fine Arts Society, with additional support from Nancy and Arthur J. Laskin, Helen Peter Love, and Sharon and William Treul. The exhibition is curated by Catherine Sawinski, assistant curator of earlier European art.

Gallery Talk with the Curator Tues, July 13, 1:30 pm

from left European, Man in Brown Suit, ca. 1815. Gift of Mrs. Albert T. Friedmann. Emanuel Thomas Peter (Austrian, 1799–1873), Young Girl with Pink Hair Ribbons, n.d. Gift of Mrs. Albert T. Friedmann. All photos by John R. Glembin.

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on view | theaster gates now on view | Through Aug 1, 2010 | Decorative Arts Gallery

Theaster Gates: To Speculate Darkly

Chicago-based artist Theaster Gates Jr. has created a multimedia installation that challenges and provokes. Gates has reinterpreted the work of Dave the Potter, a slave in antebellum South Carolina who famously adorned his pots with poetic couplets, to explore the significance of craft, labor, and race in America today. Chipstone curator Ethan Lasser, who organized the exhibition at the Museum, sat down with Theaster Gates Jr. to discuss the work. EL: In To Speculate Darkly, you take a new look at an important historical figure: the enslaved African American potter known only as Dave. What drew you to Dave’s work? TG: A potter—craftsman—makes pots, little things, but Dave put poems on his pots, which are often more about his need to voice concern, victory, protest, and personal style. EL: That makes Dave a mysterious figure. As I understand it, most slaves were not literate—indeed, most slaves were not allowed to be literate. For a slave, reading and writing could result in severe punishment. 14

TG: Right. It is uncertain how Dave learned to read, and how he was permitted to write on his pots. Perhaps Lewis Miles, his master, was more benevolent than other slave owners. Perhaps he taught Dave to read or at least condoned his talents. EL: The entrance to the work is a long hallway, with a ceiling composed of hundreds of glass lantern slides. Can you elaborate on what is going on in this space? TG: When the Art History Department at the University of Chicago offered me their collection of glass lantern slides, I was excited to imagine both what was included in the canon and what was left out. While there were a sizable number of slides dedicated to the “minor arts,” and even American craft, none of these slides represented named African and African American craftsmen who contributed greatly to the advancement of American furniture. This was also the case as I studied the history of world and American ceramics in college. While I tried not to be preoccupied with this point, I always felt like my place as a potter was consistently ripping

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on view | theaster gates

off other people’s traditions. Canonical insertion is my first attempt to replace the black craftsman into the History of the Minor Arts, and ask questions about how best to make these insertions. In short, I want to find all the black people who contributed to the history of American and European craft traditions, from gathering the mahogany in the West Indies to sharpening chisels for delicate lattice work, and write their names in the Book of Craft and give their named work a place in every canon of art history. Canons are interesting, not only for what they include, but also for what they leave out. EL: Can you tell us about the role the Milwaukee community has played in this exhibition? TG: I tried to engage and bring together two very diverse groups: vocalists and skilled tradespersons. In recordings in the installation, singers from Chicago and Milwaukee give voice to the enigmatic, emotional works of poetry found on Dave’s pots, while the sculpture was created in partnership with Kohler Co. w w w.mam.org

Theaster Gates is supported by a 2010 Joyce Award from the Joyce Foundation

Additional funding provided by the Milwaukee Art Museum’s African American Art Alliance. The exhibition is organized by the Milwaukee Art Museum and the Chipstone Foundation.

Events Race, Community, and the Museum in 21st-Century Milwaukee Thurs, July 15, 6:15–8 pm Join this engaging discussion on the evolving relationships. Co-sponsored by Mosaic Milwaukee

Poetry with Orron Kenyetta Workshop | Sat, July 17, 2–3:30 pm Slam | Sun, July 18, 2–4 pm

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on view | from the collection

From the Collection Warrington Colescott (American, b. 1921), Wisconsin-based master printmaker, satirist, and raconteur, is also a very witty—if somewhat unreliable—time traveler and art historian. In a portfolio of seven prints titled My German Trip (1992), he imagined a fantastical journey to Germany to meet with his artistic heroes, including Otto Dix, Albrecht Dürer, George Grosz, Vassily Kandinsky, Ernst Ludwig Kirchner, Käthe Kollwitz, and Gabriele Münter, among others. Pictured here is his imaginary encounter with Dürer, At Nürnberg I Lunch with the Master and His Jolly Apprentices. Agnes is a Marvelous Cook and We All Clean Our Plates. In this sheet, Colescott dines on hasenpfeffer mit nockerln with Dürer, his merry apprentices, and his wife, Agnes. Colescott, resplendent in lederhosen and toting a large camera round his neck, snaps 16

pictures of the famous atelier and the workers, each wearing a T-shirt bearing Dürer’s monogram. Colescott uses his palette to pay homage to his artistic predecessor, as well as to throw a satiric jab. He intentionally contrasts rich sepia tones redolent of Dürer’s Old Master prints with the robin’s egg blue and fuchsia of Dürer’s foppish costume. Colescott further draws attention to the elder artist’s notorious vanity by making Dürer’s elegant attire and golden, curly locks the brightest elements in the print. This and the other plates from My German Trip are on view in the exhibition Warrington Colescott: Cabaret, Comedy & Satire in the Contemporary Galleries, June 10–September 26 (see p. 8). image Warrington Colescott, My German Trip: At Nürnberg I Lunch with the Master and His Jolly Apprentices. Agnes is a Marvelous Cook and We All Clean Our Plates, 1992. Purchase, with funds from Print Forum. Photograph by Michael Tropea. © Warrington Colescott

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profiles | members matter

John Glembin John Glembin photographs artworks for the Museum that are in its Collection. For fifteen years, he worked in New York as a commercial photographer, specializing in advertising and executive portraiture. But it was the requests from corporate clients to document works in their collections and from artist friends to shoot their paintings or sculptures that provided him with the expertise he would hone at the Museum. “I was given my first contract for the Museum in fall 2002, and have had the pleasure of a continued relationship.” What are the challenges to photographing works of art? The biggest challenge is technical, because the photographs must be precise in their documentation; you can’t editorialize or alter the art in any way. Achieving accurate exposure, color control, and lighting in the original photograph is essential, but manipulating the images in Photoshop is not an option. What types of works do you enjoy photographing? I enjoy all the crazy and odd challenges I’m confronted with. A three-dimensional piece, however, presents unique challenges that make the job more interesting. But then, no two paintings absorb light the same way. Experience teaches you not always to trust your light meter, as it can’t predict how the pigments and varnish will affect light absorption and reflection. w w w.mam.org

Name: John R. Glembin Day Job: Photography Instructor, MATC Faculty Member Since: 2002 Favorite Artwork in the Collection: MMPI (Self-Portrait in Yellow) by Tony Oursler

Do you have a particularly memorable photo shoot? Beth Lipman’s Laid Table, which is overflowing with clear glass objects, needed special attention. Because of the way the piece is lit and its brightness, it is technically impossible to capture the full tonal range in a single exposure. To achieve an accurate reproduction, I had to shoot seven individual exposures and combine them into one image. This type of challenge is what makes photographing artwork interesting, challenging, and rewarding.

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profiles | members matter

Patricia Buch Though a Member for only two years now, Patricia Buch has certainly utilized her membership to the utmost! From attending lectures, Art in Bloom (“excellent!”), and the Lakefront Festival of Arts to enjoying the “extra special and beautiful items” she finds in the Museum Store (“plus I get a discount”), the delicious food at Café Calatrava, and the unlimited admission to feature exhibitions (“I often see an exhibition several times”), Patricia is “really enjoying” her membership. Patricia is an Art Advocate Member. In fact, she specifically chose this level of membership for the day trip opportunities: “I wanted to learn more—do more—widen my exposure to art. This was an easy way for me to learn.” How many day trips have you participated in? Three. The first was to Artropolis in Chicago. I signed up because of the subject matter: antiques, emerging art, modern art, which I thought I didn’t like. But each time I’m exposed to a “new” art form (for me), I see something I like and discover something new. What do you enjoy about the day trips? They are well planned. They combine places of interest, art information, and an easy relaxing day with nice people. Also, I love having a chauffer, if only for a day! My favorite trip was to Crab Tree Farm in Lake Bluff, Illinois. This was someplace I had heard about and wanted to see, but it’s not open to the public. Through the Museum, I was not only able to see the 18

Name: Patricia Buch Day Job: Owner, Hilltop Farm, Hartford, WI Member Since: 2008 Favorite Artwork in the Collection: The Old Stagecoach by Jonathan Eastman Johnson

private estate, but also treated to a firstclass tour. It was excellent! What would you tell someone who is considering taking a Member trip? Go. It will be time well spent, and is worth every penny. It’s a day to relax and learn new and exciting things—a wonderful perk! To learn how you can take part in Museum day trips, call the Membership Hotline at 414-224-3284, and see page 25 for details on the next trip.

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happenings | programs + events

Sun, July 18, 10 am–4 pm Experience the vibrant culture of the islands through hands-on art activities, music, stories, and more—and explore the colorful and compelling works of Haitian art in the Museum’s Collection. For this event, the Museum is part of the nationwide celebration Target Free Weekend 2010, which affords all visitors to the Museum free admission for the day. Laurent Casimir (Haitian, 1928–1990), Crowded Market, 1972. Gift of Richard and Erna Flagg. Photo by Larry Sanders

Sponsored by

Additional support provided by Assurant Health

More Family Fun Classes & Camps For a complete listing of programs and details, visit www.mam.org. Mixing with the Masters Sat, June 12, July 10, Aug 14 10:30 am–noon Take a close look at the work of a different artist in the galleries each month, and then create your own work of art inspired by their unique style! Ages 4–8 with an adult caregiver $30/$20 Member (each session) Summer Art Camp Spaces limited—sign up today! Register your children ages 6–15 for a week of creative exploration. Painting, printmaking, sculpture—there’s something for everyone.

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Registration is easy! Call 414-224-3803. Gift certificates and scholarships are also available.

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happenings | programs + events

Visit the Kohl’s Art Generation website at www.mam.org/artgeneration.

Kohl’s Art Generation Gallery Color Stories in 3-D | Through Aug 31, 2010 Learn about the evolution of 3-D technology! 3-D is all the rage at the movies—Avatar, Alice in Wonderland, and Toy Story 3. Soon 3-D TVs will bring it all home. Try out the first 3-D stereoscopes from the nineteenth century and star in your own stereograph. Explore the magic of red and blue lenses to create anaglyphs. Learn how moviemakers today make you reach out and even duck in your seats, using 3-D technology. Register to win four tickets to an exclusive party featuring a private screening of Toy Story 3 in 3-D when you visit the Kohl’s Art Generation Gallery.

Kohl’s Color Wheels A Mobile Art Experience Like No Other Take part in fun, hands-on projects—and learn through art. The Kohl’s Color Wheels van brings creativity into your community. Watch for it at community festivals and other events throughout the summer. Check the website regularly for updates to the schedule. June 12 Gathering Waters Festival June 18–20 Lakefront Festival of Arts June 24–July 4 S ummerfest July 10 Gathering on the Green July 11 Bradford Beach Family Day July 17 Port Washington Fish Day July 21–25 Waukesha County Fair Aug 5–15 Wisconsin State Fair Aug 19–22 Zoo a la Carte Aug 27–29 Mexican Fiesta

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happenings | programs + events

Weekend Family Programs

Sundays

Each weekend, Story Time in the Galleries, Sketching in the Galleries, and the Kohl’s Art Generation Studio provide new opportunities to explore the art in the Museum’s galleries. Families can drop in for a few minutes or stay all day.

Kohl’s Art Generation Open Studio 10 am–4 pm Swing by anytime and explore different art materials and techniques used to create works in the Museum’s galleries. Each month features a different theme; each week, a different project. June 6, 13, 20, 27 | Art in 3-D July 4, 11, 25 | Drawing and Printmaking August 1, 8, 15, 22, 29 | Material World

Saturdays Story Time in the Galleries 10:30 am Each Saturday, come hear a different story that relates to a work of art in the Museum, and then create your own story drawing to take home. June 5, 12, 19, 26 July 3, 10, 17, 24, 31 August 7, 14, 21, 28 Sketching in the Galleries 1–3 pm Try your hand at sketching from works in a different gallery each week. June 5, 12, 19, 26 July 3, 10, 17, 24, 31 August 7, 14, 21, 28 w w w.mam.org

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happenings | programs + events 3 days only | june 18–20, 2010

The familiar white tents will soon line Art Museum Drive, signaling the arrival of the ever popular and nationally recognized Lakefront Festival of Arts (LFOA). Yet, according to Danielle Brinkman, 2010 LFOA co-chair, visitors can expect some new features at this year’s event: “We really looked for opportunities to ‘wow’ our faithful attendees and, at the same time, attract a new audience. One new element festival-goers will notice right away is a more significant connection to the Museum, including the expansion of additional artist booths into Windhover Hall.”

Another exciting change is the food. The Museum’s Café Calatrava will be featured as the exclusive food provider at the festival, celebrating the art of cuisine in a way that will bring a unique experience to LFOA guests. David Jones, food and beverage director at the Museum, promises a broad menu: “We want to appeal to the diverse range of tastes of our visitors, while offering selections that distinguish the event in much the way the food at the ethnic festivals sets them apart.” Whether inside the Museum or under cover of a state-of-the-art tent, festival-

goers can visit with the artists as they explore their work, enjoy interactive fun in the expanded Children’s Area featuring the PNC Children’s Experience, listen to live music, relax in the Milwaukee Magazine Wine Garden, participate in the Silent Art Auction, explore the sculpture garden, and more. Don’t miss a thing! Visit the LFOA website at www.mam.org/lfoa for festival activities and details. Friends of Art presents the Lakefront Festival of Arts as a fundraiser to support the Museum’s Art Acquisition and Exhibition Fund.

Volunteer! Make LFOA a success. Volunteers work in the promotions booths, direct traffic, assist in the Children’s Area, and more. Visit the LFOA website to sign up for a shift today! LFOA Sneak Preview Fri, June 18, 10 am–noon Members at the Art Advocate level ($150) and above—meet the artists and purchase great art before the festival opens to the public; simply show your membership card to enter. Individual, Family, and Dual Members—enhance your level of membership today and join us! Call the Membership Hotline at 414-224-3284.

Hours Fri, June 18, noon–9 pm Sat, June 19, 10 am–7 pm Sun, June 20, 10 am–5 pm Tickets Includes admission to the festival and the Museum. Two Free: Renew or purchase a Museum membership at the LFOA entrance gates to receive two free LFOA admissions, plus enjoy Member benefits year-round. In Advance: $7 at participating Milwaukee-area businesses. Visit the LFOA website for locations or call 414-224-3856. At the Gate: $12/$7 Members, $20 3-day pass (children 16 and under free with a paid adult).

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happenings | programs + events

Happenings Check the Museum’s website for parking restrictions throughout the summer. At times, the Museum’s underground parking is not accessible because of events along the lakefront, including the Lakefront Festival of Arts.

Sixth Annual Milwaukee Artist Marketplace Sat, July 24, 10 am–5 pm Visit the grounds of the Museum on Gallery Day and explore works by more than eighty emerging and established Milwaukee-area artists in a relaxed and informal setting. One-of-a-kind paintings, drawings, jewelry, prints, sculpture, ceramics, wearable artwork, and more will be available for purchase. All marketplace artists are members of a diverse coalition of Milwaukeebased artist organizations that partners with the Museum on this event. Held rain or shine. Free. Partnering organizations: ABEA (African-American Artists Beginning to Educate Americans About African-American Art), ACAA (A.C. Art Association), AEP (Artist Enhancement Program), BVAG (Bay View Arts Guild), CoPA (Coalition of Photographic Arts), HWPC (Hmong Women’s Professional Circle), LMA (League of Milwaukee Artists), MARN (Milwaukee Artist Resource Network), MATA (Milwaukee Area Teachers of Art), RAA (Riverwest Artists Association), WDCC (Wisconsin Designer Crafts Council), WPCA (Walker’s Point Center for the Arts), WVA (Wisconsin Visual Artists).

Milwaukee Wine Festival Fri, Aug 20, 4–10 pm | Sat, Aug 21, 3–9 pm Sample from more than two hundred wines from around the world, outdoors on the Museum grounds. Learn from the experts during wine seminars and cooking demonstrations, and enjoy foods from the area’s finest restaurants and caterers. Details at www.milwaukeewinefestival.com. Held rain or shine. Call 414-224-3856—and sign up to volunteer with Friends of Art! Tickets

A portion of all proceeds benefits the Museum.

Adult Wine Tasting $25 in advance/ $35 at the door; Members $25

(includes wine glass, ten tastings, program, food/ wine seminars, cooking demos, and the opportunity to purchase wine at a discount)

Designated Driver Ticket $10

(includes two non-alcoholic drinks, program, food/ wine seminars, cooking demos, and souvenir glass)

Under 21 admitted free when accompanied by paid adult Ticket sales end one hour and thirty minutes before closing time; alcohol sampling and sales, thirty minutes before closing time.

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happenings | programs + events

Member Extras Day Trip to Ten Chimneys Wed, July 21, 8:30 am–5 pm Join us for a trip back in time to the glamorous world of the 1930s and 1940s with a day at Ten Chimneys, a national historic landmark in Genesee Depot. The summer home of Broadway legends Lynn Fontanne and Alfred Lunt, this 60-acre estate is nestled in the scenic Kettle Moraine. The docent-led tour will take you through the elegant three-story, eighteen-room main house, the quaint country cottage, and the Swedish-style log cabin. The décor at Ten Chimneys mirrors Lynn and Alfred’s life and experiences, with mementos from international trips, remembrances from treasured friends, and countless personal effects. The estate is filled with remarkable collections of original furnishings, art, and artifacts, all of which reflect the couple’s creativity, passion, and humor: Delft china, Staffordshire figures, rare original prints, converted pre-Civil War oil lamps, French bottles, Spanish statues, and more. After a delicious lunch overlooking the estate gardens and Kettle Moraine, we will meet with Sean Malone, president of the Ten Chimneys Foundation, and Keith MacKay, director of historic preservation. They will discuss the history of the foundation and provide information about the care and conservation of the many collections on-site.

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Cost $65 (includes tour, lunch, and transportation) This trip is open to Members at the Art Advocate level ($150) and above. Individual, Dual, and Family Members— upgrade your membership and come free! Space is limited. RSVP to the Member Hotline at 414-224-3284.

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happenings | programs + events

Raphael

Opening Celebration March 27, 2010

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happenings | programs + events

Art in Bloom April 8â&#x20AC;&#x201C;11, 2010

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| summer 2010 |

happenings | programs + events NORTHWESTERN MUTUAL FOUNDATION PRESENTS

MAM After Dark Returning in August! Friday, August 27 | 5 pm–midnight MAM After Dark is on hiatus this summer, as Milwaukee remains true to its City of Festivals name and provides a diverse selection of cultural festivities. The popular after-hours art happening returns in August with a not-to-be-missed, end-of-summer celebration, featuring burlesque and other things bawdy inspired by the exhibition Warrington Colescott: Cabaret, Comedy & Satire. This homage to vaudeville and the Madison-based printmaker’s unabashed wit kicks off the new season of MAM After Dark. The popular DIY Studio, Photo Booth, and Radio Milwaukee DJs return, while special programming tailored to each event offers unique opportunities to experience art and mingle with friends old and new.