When the Quadracci Pavilion opened 20 years ago, the architect Santiago Calatrava remarked that “…we have not designed a building, but a piece of the city.” Today, the building is one of Milwaukee’s favorite emblems and the city’s largest work of art. Celebrate this landmark and its architecture all month with these activities!
We at the Milwaukee Art Museum were deeply saddened to learn of the recent passing of Isabel Bader, a loss that is greatly felt within our Museum family. A longtime patron and friend of the Museum, Isabel was known for her remarkable passion and steadfast commitment to the arts, which had a profound impact on our institution and our community. For decades the Museum has benefited from the boundless generosity and invaluable support of Isabel, her late husband Dr. Alfred Bader, and the Bader Family’s charitable foundation, Bader Philanthropies, Inc.
True or false: the Museum’s collection galleries always stay the same?
The Milwaukee Art Museum is thrilled to announce our very own Marcelle Polednik, Donna and Donald Baumgartner Director, has been honored with a Milwaukee Business Journal Women of Influence Award for her significant contributions to the arts and our community.
Periodically in the past, the blog has featured a series of posts called “Questions of Provenance,” which discussed issues related to provenance, or the history of ownership of a work of art. Over the next few months, this series will continue with posts highlighting recent research into works in the Milwaukee Art Museum’s collection. In case you missed it, the first one was published in January.
The last story I shared was about an accidental discovery related to the provenance of the painting Dance Under the Linden Tree (1881) by Ludwig Knaus. Today, I’m going to share a similar surprise discovery, about Wedding Procession in the Tyrol by Wilhelm Ludwig Friedrich Riefstahl (German, 1827–1888).
The Milwaukee Art Museum is excited to introduce Spotlight Sessions, a virtual series featuring an artist or local luminary interpreting or responding to an artwork in the collection. This series captures the unique perspective an artist brings to either their own or another’s work of art, broadening the experience of a painting, sculpture, or other selected work. Over the next three years, six local and visiting artists will be featured in this series. Viewers will have a range of opportunities to learn about and engage with Spotlight Sessions, including on the website, through social media, and at in-person events.
The Museum’s collection of more than 32,000 works of art spans from antiquity to the present and includes gifts and purchases dating from 1888 to today. There are the favorites that everyone looks forward to seeing with each visit, yet works come in and out and are frequently moved about. They rest (in the vault), travel to other institutions, and enter new social circles in the galleries, striking up new conversations. Each work of art has a “life” that makes the collection itself dynamic—one with many stories to share.
The curatorial staff of the Milwaukee Art Museum are constantly researching the collection. Sometimes we request books and articles through interlibrary loan. Other times, we page through archival files either in person or online. And it’s not unusual to talk to colleagues in the field. But believe it or not, every once in a while, an important discovery is made by accident.
Samer Ghani, local artist, videographer, photographer, DearMKE Award winner, and “cultural documentarian,” captures stories as they emerge from Milwaukee events: from milestone moments like the Bucks’ victory parade to intimate rock concerts in neighborhood music venues. Ghani draws energy and inspiration for his artistic practice from Milwaukee’s unique spirit, landscape, and people.
Ghani’s love of art sparked more than 20 years ago, when he was a student in a Milwaukee Public Schools 4K art class at the Milwaukee Art Museum. Now, Ghani comes full circle by photographing the Museum’s Quadracci Pavilion to commemorate its 20th anniversary. The photograph appears on this year’s Member mug, offered to Members who support the Museum with an early renewal.
In a recent interview, Ghani discussed how his connection with the Museum has evolved over the decades.
I’m a book lover. Always have been, always will be. For me, the physicality of a book—the tactile qualities of holding it in my hands, the smell of the paper and ink, and the sound of turning the pages—it is part of a complete experience that I never want to give up. And I’m not the only one. Although e-readers have taken part of the book market, readers still prefer physical books and physical books outsell e-books.
I don’t own an e-reader, but I do a lot of reading on screens, usually on my computer. Compared to even ten years ago, an enormous amount of important scholarship for the art historian is on the internet. I still conduct good and thorough research using printed books, but it’s amazing what is available with a few taps of the keyboard.