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“The Art of Now” on View in the 2021 Scholastic Art Awards: Wisconsin Exhibition

Young woman looking at the screen with stick people drawings in the background holding hands
Victoria Fernandez, “We All Hold Hands,” 2020 (detail). Acrylic and watercolor. National American Visions Award and Gold Medal in Painting. Grade 12, Pius XI Catholic High, Milwaukee, Cathy Burnett, instructor.

This year marks the 45th year the Milwaukee Art Museum has hosted the Scholastic Art Awards: Wisconsin Exhibition, celebrating the artistic talent of students in grades 7–12 from across our state. Unlike in years past, the exhibition is entirely virtual, with more than two hundred works available for viewing through March 21, 2021.

Selecting the works to include in the annual Scholastic exhibition is a challenge in normal times. When twenty-nine arts professionals from across Milwaukee’s creative community gathered online in early January to judge the over 1,800 art submissions, they all agreed this exhibition of next-generation art felt more essential than ever.

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Art Exhibitions

A Modern Vision and a Story of Collecting

Paul Cézanne, Ginger Pot with Pomegranate and Pears, 1893. Oil on canvas. 18 1/4 × 21 7/8 in. The Phillips Collection, Washington, DC. Gift of Gifford Phillips in memory of his father, James Laughlin Phillips, 1939.

The works by Degas, van Gogh, Bonnard, Modigliani, and others on view in the Modern Vision exhibition are from The Phillips Collection and reflect the lifelong collecting efforts of Duncan Phillips, who developed an interest in art at an early age. A five-part podcast on collectors and collecting produced in conjunction with the exhibition reveals that Phillips worked in concert with his wife, Marjorie, herself an artist, whom he met shortly before he opened his museum. She became the deputy director of the museum and, after Duncan’s death, went on to become its director.

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Art Curatorial Exhibitions

From the Collection: An Illuminated Manuscript

French, Leaf from a Liturgical Psalter, early 14th century. Tempera, ink, and gold leaf on parchment. 6 3/8 × 4 7/16 in. (16.19 × 11.27 cm). Milwaukee Art Museum, Gift of Paula Uihlein M1932.108. Photo credit: John R. Glembin
French, Leaf from a Liturgical Psalter, early 14th century. Tempera, ink, and gold leaf on parchment. 6 3/8 × 4 7/16 in. (16.19 × 11.27 cm). Milwaukee Art Museum, Gift of Paula Uihlein M1932.108. Photo credit: John R. Glembin

Before the invention of the printing press in the fifteenth century, books were handwritten. Imagine… every time a copy of a text needed to be made, someone had to do it painstakingly by hand. In our world of quick reproductions and the ease of hitting “print”, this can be hard to believe!

The exhibition The Art of Devotion: Illuminated Manuscripts from Local Collections, on view at the Milwaukee Art Museum through June 16, 2019, aims to provide an introduction to these handwritten texts–called manuscripts–that were made in the middle ages and early Renaissance. A good number of those manuscripts are also illuminated, or decorated with gold, silver, and bright colors that make them literally look like they shine from within.

Ornamenting the Christian Bible and related texts reflected their holiness, as revealing the teachings of God. Monks and nuns would make the books in a scriptorium—or copying room—as a type of religious devotion. By the fourteenth century, commercial scriptoriums fulfilled the demand for books made by the aristocrats and nobles who commissioned them not only to use in private devotion but also to display their great wealth. As you can imagine, this leads to amazing and beautiful books!

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Art Behind the Scenes Curatorial Education Events Exhibitions

The House of Cards Project

spiral
UWM-Milwaukee Peck School of the Arts students (left to right) Anna Emerson, Paul Manley, and Jessica Schubkegel installing the House of Cards spiral. Photo: Ray Chi.

In the early 1950s, designers Charles and Ray Eames painstakingly arranged penny cars, pencils, pills, and papers to photograph for their House of Cards construction set. They probably never imagined that decades later, thousands of children and adults in the Milwaukee region would meticulously decorate their own House of Cards, let alone that these cards would be installed together in a towering spiral at the Milwaukee Art Museum in conjunction with the exhibition Serious Play: Design in Midcentury America.

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Art Curatorial Exhibitions

Curating Ho-Chunk Objects in Mrs. M.—–’s Cabinet at the Milwaukee Art Museum

Egg basket (circa 1900).
Egg basket (circa 1900).

Ho-Chunk presence and their arts contributed to the development of Wisconsin Dells tourism—and to the material and aesthetic culture of the state. While Ho-Chunk representation is not always considered by tourists beyond stereotypical art for the trade, there is still a long and well-documented history of Ho-Chunk material life in the Wisconsin Dells area. The Ho-Chunk objects currently on exhibition in Mrs. M.—–’s Cabinet, are not the expected souvenirs of the Wisconsin Dells trade, but give a glimpse into the unfamiliar Ho-Chunk objects made and used in the Dells in the late 19th century.

In the exhibition Photographing Nature’s Cathedrals: Carleton E. Watkins, Eadweard Muybridge, and H.H. Bennett, an image by Henry Hamilton Bennett illustrates the acknowledgement of the unseen Native American presence within the Wisconsin Dells landscape. Looking out from Black Hawk’s Cave is one example of Bennett labeling his photographs with fictional place names and after real historical figures. Bennett used the Sauk Chief’s name in an effort to sell a romanticized American Indian legend to tourists. 

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Art Curatorial Exhibitions

Introducing: Afrikando by Jaime Hayon

Jaime Hayon, designer, with Nason Moretti, producer, from left to right: Umi (Life), Saidah (Fortunate), Chausiki (Born at Night), Malawa (Blossoms), Sauda (Dark Beauty), Wambua (Rainy Season), and Abayomi (Brings Joy) from Afrikando, 2017. Milwaukee Art Museum, purchase with funds from the Jill and Jack Pelisek Endowment Fund, the Sanford J. Ettinger Memorial Fund, and by exchange, M2017.23.4-7. Photo by John R. Glembin.
Jaime Hayon, designer, with Nason Moretti, producer, from left to right: Umi (Life), Saidah (Fortunate), Chausiki (Born at Night), Malawa (Blossoms), Sauda (Dark Beauty), Wambua (Rainy Season), and Abayomi (Brings Joy) from Afrikando, 2017. Milwaukee Art Museum, purchase with funds from the Jill and Jack Pelisek Endowment Fund, the Sanford J. Ettinger Memorial Fund, and by exchange, M2017.23.4-7. Photo by John R. Glembin.

Among the many eye-catching objects in the exhibition Jaime Hayon: Technicolor, the delicate etching, dangling earrings, and dazzling glass surfaces of Afrikando are particularly alluring. This set of seven glass vessels is on view for the first time in the exhibition of work by Spanish artist-designer Jaime Hayon. Designed by Hayon expressly for the Milwaukee Art Museum’s permanent Collection, Afrikando fuses the tradition of glassblowing with the designer’s delightfully fresh contemporary sensibility.

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Art Curatorial Exhibitions

Jaime Hayon: Technicolor

Installation view of Jaime Hayon: Technicolor, Milwaukee Art Museum, 2017. Photo by John R. Glembin.
Installation view of Jaime Hayon: Technicolor, Milwaukee Art Museum, 2017. Photo by John R. Glembin.

On view now through March 25th in the Bradley Family Gallery, Jaime Hayon: Technicolor brightens up wintertime in Milwaukee with a colorful splash of fun and fantasy. The energetic exhibition features work from two decades of the Spanish artist-designer’s career, including textiles, ceramics, glass, drawings, and playground equipment. These works represent a wide range of approaches to making, thinking, and viewing, while also remaining unified by a refreshing sense of playful whimsy.

Jaime Hayon trained in his native Madrid and in Paris before directing the design department at Fabrica, the Benetton-funded design and communication academy in Italy, for nearly a decade. In 2003, he left Fabrica to focus on his own studio practice. Hayon Studio now has offices in Italy, Spain, and Japan and is acclaimed worldwide.

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Art Curatorial Exhibitions

MAM Celebrates 150 Years of Frank Lloyd Wright–Part Two: The Potential of Plywood

Frank Lloyd Wright (American, 1867–1959), Usonian Exhibition Dining Chair, 1953. Oak and plywood. Milwaukee Art Museum, Purchase, in memory of Evelyn Brindis Demmer with funds from the the Demmer Charitable Trust, Jody Brindis Goisman & Dick Goisman, Dr. Charles Brindis & Debra L. Brindis, and Wayne & Kristine Lueders.
Frank Lloyd Wright (American, 1867–1959), Usonian Exhibition Dining Chair, 1953. Oak and plywood. Milwaukee Art Museum, Purchase, in memory of Evelyn Brindis Demmer with funds from the the Demmer Charitable Trust, Jody Brindis Goisman & Dick Goisman, Dr. Charles Brindis & Debra L. Brindis, and Wayne & Kristine Lueders.

Though world-renowned (and Wisconsin-born) architect Frank Lloyd Wright is perhaps best remembered for his work in the Prairie Style, this portion of his career was only the first chapter of a much longer story. And so, in honor of the 150th anniversary of the Wright’s birth, the Milwaukee Art Museum is pleased to commemorate multiple aspects of his career—both early and late.

The exhibition Frank Lloyd Wright: Buildings for the Prairie, on-view in the Bradley Family Galleries through October 15, 2017, explores work from the first part of his career, while his later achievements are represented by the acquisition of a Usonian Exhibition House Dining Chair—one of only two such objects that are still extant. The Milwaukee Art Museum is fortunate to have added this rare object to our permanent collection through the support of the Demmer Charitable Trust, Jody Brindis Goisman & Dick Goisman, Dr. Charles Brindis & Debra L. Brindis, and Wayne & Kristine Lueders, who have supported this acquisition in memory of Evelyn Brindis Demmer.

This simple plywood chair was produced for an exhibition held at the Guggenheim museum in New York in 1953, when Wright was 84 years old. Titled The Usonian House: Sixty Years of Living Architecture, the exhibition explored the architect’s efforts in the latter part of his life to produce housing that was affordable, yet still adhered to the high standards of beauty dictated by his philosophy of organic architecture. In fact, the catalog that accompanied the Guggenheim exhibition opened with a forceful statement written by Wright: “I believe a house is more a home by being a work of Art.” In this same publication, Wright even asserted that his approach to architecture aligned, fundamentally, with the principles of American democracy.

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Art Curatorial Exhibitions

MAM Celebrates 150 Years of Frank Lloyd Wright–Part One: Presenting Prairie Style

Frank Lloyd Wright (American, 1867–1959). "Tree of Life" Window from the Darwin D. Martin House (Buffalo, New York), 1904. Glass with zinc cames. Milwaukee Art Museum, Gift of the Frederick Layton Art League in memory of Miss Charlotte Partridge and Miss Miriam Frink M1978.262. Photo credit: Richard Beauchamp. © Frank Lloyd Wright Foundation.
Frank Lloyd Wright (American, 1867–1959). “Tree of Life” Window from the Darwin D. Martin House (Buffalo, New York), 1904. Glass with zinc cames. Milwaukee Art Museum, Gift of the Frederick Layton Art League in memory of Miss Charlotte Partridge and Miss Miriam Frink M1978.262. Photo credit: Richard Beauchamp. © Frank Lloyd Wright Foundation.

This year marks a whopping 150 years since the birth of world-renowned architect Frank Lloyd Wright.

As institutions across the United States host specials exhibitions and events to mark the occasion, the Milwaukee Art Museum has particular reason to celebrate: although Wright has come to represent Midwestern and American architecture at large, he was born and spent much of his life in our own beloved state of Wisconsin.

Wright’s first home was the small farming community of Richland Center, Wisconsin, where he was born in 1867. Wright also spent most of his childhood in Wisconsin (his family relocated briefly to Massachusetts when he was nine), and he attended both high school and college in Madison.

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Art Curatorial Exhibitions

John J. Reiss: Artist, Designer, and Collector

John J. Reiss, photographed for Wisconsin Architect, January 1968
John J. Reiss, photographed for Wisconsin Architect, January 1968

Milwaukee has been home to many talented designers over the years, but they often fly under the radar. A designer’s main concern is to convey a message or idea on behalf of a client; one’s identity is secondary, but a talented designer finds a way to stand out.

John J. Reiss is one such designer. He was born in Milwaukee in 1922, and while he spent some time in New York, Milwaukee was ultimately where he made his home and his mark. As a design associate for the Milwaukee Art Center (now the Milwaukee Art Museum), he created many of the exhibition catalogues, invitations, and advertisements in the 1950s, ‘60s, and ‘70s. However, he won recognition on a national and international level as well.