Whither “Polyphony”, The Dynamic Abstract Sculpture By Egon Weiner Owned By The University of Wisconsin – Milwaukee.

For those of you who have been following An Intuitive Perspective for a while or have read my Welcome to An Intuitive Perspective! page, you know that I am an alumnus of the University of Wisconsin – Milwaukee. I transferred to UWM in the fall of 1970 and completed a Bachelor’s of Fine Arts degree in the fall of 1973. At that time I was aware of Egon Weiner’s Polyphony, a very prominent and dynamic sculpture that sat at the west entrance of the Student Union at Kenwood and Maryland. I even wrote a short paper on the piece for an art history course in modern sculpture. I don’t remember what I wrote and I wish that I still had that paper. But since that time I have had an affinity for the sculpture and it has been a touchstone for me whenever I visited that part of campus.

photo by Loni Gonzalez showing the long term location of Polyphony, west of the UWM Student Union. Photo found on Wikipedia and traced back to Flickr.

I always look for it when passing through that area of campus. And was a little concerned for its welfare as the union was going through a remake and remodel the past five or six years. It is nearly completed now and they have done a marvelous job of opening up the space and making it more inviting. And the refresh included some new landscaping so I didn’t know how that would affect the piece. But each time I checked, it was on site and all was right in my world.

another view of Polyphony outside the union. this is a screen grab from Google street view, dated October 2010.

Until is wasn’t. Sometime during the first week of November 2023, I took the bus to campus and entered the union from the west rather than the east and the sculpture wasn’t there. My heart dropped and I wondered what to do. Certainly this was a major piece of art and it would be moved to an appropriate new home elsewhere on campus. I didn’t know who to contact to ask and just kept my eyes open as I moved through the campus.

And then a week or so later, as I was leaving an art history class in the Art Center Lecture Hall (AKA ACL120), heading to Mitchell Hall, I just caught a quick glimpse of the work out of the corner of my eye. Someone apparently thought placing this dynamic work in a corner niche of ACL120 was a good idea. Well it is not. A dynamic work of this size and design demands to be in an area where the viewer can walk around it and observe it in the round…in its entirety. That isn’t possible in this niche in the corner of a building…and it probably isn’t fair to the building either…I don’t imagine that the architect expected to have a large abstract sculpture plunked down in his little recess.

© 2024 by Ed Heinzelman

I took a bit of artistic license here by showing this view first. But it does show the cramped quarters the sculpture now resides in but from other angles it feels a bit better (as in the next photo) and then a shot that feels even worse.

© 2024 by Ed Heinzelman
© 2024 by Ed Heinzelman

Just a couple of observations before we continue. That electrical control box is certainly a jarring intrusion into the sculpture’s space. And this previous photo is so dark with the sculpture in the shadows because Mitchell Hall is only about fifteen feet to the left and is separated from Polyphony by a sidewalk and a bit of dirt similar to what you see along the base of ACL120. These three photos and the following one were all taken at the same time. Before we proceed, here is a shot of the inscription on the base:

© 2024 by Ed Heinzelman

Well I felt and still feel that Polyphony should not be permanently located between ACL120 and Mitchell Hall. As I have already stated, this is a very dynamic sculpture and needs to be appreciated in the round. And the UWM Campus is sufficiently large to accommodate the piece and allow visitors to view it as I am sure Egon Weiner intended.

So, having recently attended an event sponsored by the Art History Dept to highlight their collection and the wonderful Emile H. Mathis Art Gallery (I promise a future blog on the Mathis), I initially contacted Leigh Mahlik, curator of the UWM Art Collection, and told her of my concern. She told me that it is not part of the university’s collection but actually belongs to the newly combined School of Art and Architecture. So time to move on and find someone else to pester.

I used to know a number of professors in the Peck School of the Arts, now part of the School of Art and Architecture, but most of them have retired in the past few years. So I forwarded my concerns to Cynthia Hayes, a member of the teaching faculty that I am friends with, and asked her to pass it along to those in the department who might have knowledge of the piece. She did so almost immediately…and I very quickly heard from Kevin Hartman, Head of School, Peck School of the Arts, and Randall Trumbull-Holper, Director, Facilities, Operations, Box Office, Production. I would like to thank all three of them for their seemingly immediate response. Trumbull-Holper’s response contained some of the information that I was seeking:

The sculpture was originally commissioned for the entrance to the music building but due to construction in the late 60s or early 70s it was moved and placed on the west side of the union. As part of the union construction I worked with the Union Director Mike Schmit to bring the sculpture back “home” to the arts area of campus. It’s now living on the SW corner of ACL 120 which is also quite near the entrance to the Music Recital Hall.

Hmmm…am I about to go down a rabbit hole here or a worm hole? LOL! I replied to all that I would like some more information on the commission. Was the commission funded by the university, a motivated donor, or a percent for art initiative that was popular for public buildings at that time. I also asked if there would be additional discussion on moving the sculpture to a better, in my opinion, location and then provided a few suggestions. But to date we haven’t had any additional contacts. So let’s pivot to the artist and the sculpture!

© 2024 by Ed Heinzelman

I have searched for Egon Weiner a number of times and spent several afternoons reading snippets and short articles about him…but I’d like to know more (so if any of you come across longer items about him, I’d appreciate it if you’d include a link in the comments below). Weiner was born in Austria in 1906 and fled Europe when Nazi Germany invaded his home country. His mother was not Jewish but his father was which made it problematic for him to stay in Europe. He moved to Chicago and established a sculpture studio almost immediately. After a few years he obtained a teaching position at the School of the Art Institute of Chicago and apparently was a popular mentor and instructor for young sculptors at the school. He sculpted in a number of materials including wood, stone, and bronze. He brought a modern European esthetic to America in his early work and later moved to a more abstract style and I would say Polyphony is a grand example of that. I will include some ‘extra credit’ reading links below!

Bronze sculpture called “Pillar of Fire” by Egon Weiner erected at the entrance of the Chicago Fire Department Academy. Built on the site of the O’Leary property where the Great Chicago Fire began. (1961)
Frank Lloyd Wright [1867-1959] by Egon Weiner
Location: Austin Gardens, Oak Park

But what is his relationship to UW – Milwaukee? Well, Wikipedia has an entry for Polyphony, (yes I know that’s not a scholarly source but…it actually has more information on Weiner than his own listing), and it gives us some background and supports the statement from Randall Trumbull-Holper. quoted above.

When the Fine Arts- Music building was completed in 1962 on the University of Wisconsin–Milwaukee campus, sculptor Egon Weiner spent the summer session there as artist-in-residence. Arrangements were made with the university to place a piece of his work on the campus. Throughout the summer of 1963, Weiner sculpted Polyphony in plaster-of-paris, and then cast the sculpture in bronze. During the work’s dedication ceremonies, Weiner stated that the sculpture represents “the rhythm of music and its inner structure.”

Originally the sculpture was placed at the west entrance to the music building, but years later the sculpture was moved due to the growing number of students on campus. The Fine Arts-Music building needed additions for the art department and an auditorium therefore Polyphony was moved into storage. After the construction was finished Polyphony was moved to its current location on a grassy knoll at the corner of East Kenwood Boulevard and North Maryland Avenue, next to the Student Union.

So there we have the how and the why UW – Milwaukee has such an amazing sculpture. And I also was amazed by the story of Egon Weiner as well. At this point, I am going back to my original point. Polyphony needs to be relocated to a proper place on campus worthy of its history and status, and that isn’t in that little recess outside of ACL120.

I will keep this brief, I hope. I think I went overlong in my reply to the School of Art and Architecture. If everyone feels that it must stay near the building that houses the music school, then a fine place would be the Spaights Plaza. This is a concrete quad that covers the underground parking structure adjacent to the student union and connects the union, fine arts building, Bolton Hall, and the Golda Meir Library. It is large and open, although maybe a bit cold given it’s a concrete expanse. There is also a small plaza just a few feet west of where Polyphony currently stands. It fronts the Fine Arts Theater and Fine Arts Recital Hall. It too is paved in concrete but may be too small for this purpose.

Spaights Plaza : from the UWM Post

I also think that the expansive lawns in front of Mitchell Hall would be a great location. Mitchell Hall is at the corner of Kenwood and Downer and is one of the grand old halls that makes up the original UWM Campus. I don’t think Mitchell houses any music courses but it does have dance, art, and art history classes. And it it highly visible and just immediately east and south of ACL120.

© 2024 by Ed Heinzelman Mitchell Hall’s east lawn facing Downer Ave.
© 2024 by Ed Heinzelman Mitchell Hall’s south lawn facing Kenwood Ave and the Zelazo Center.(concerts)

And then given that Polyphony sat outside the western entrance to the student union for at least 50 years, maybe it should go back there. The new landscaping provides trees and a new grassy knoll that is bordered by horseshoe shaped sidewalks that approach the union. This location would again be highly visible and the shape of the sidewalk would make viewing in the round a given.

© 2024 by Ed Heinzelman UWM Student Union’s west entrance

Well, that’s my rant for today!!

Extra credit readings:


From the Holocaust to Woodlawn: “Sculpting a Chicago Artist” at the Koehnline Museum

Egon Weiner

Egon Weiner

A five minute video!!

article © 2024 The New World Digs

Throwback Thursdays: Leading Up To Our Fourth Anniversary!

Our fourth anniversary is coming on on March 21, 2024. So to get ready for the celebration, I am going to us the Throwback Thursday trend to repost our most popular items from the past on the various social media platforms that I use. So watch for them on Facebook, X, Post, Instagram, Threads, and LinkedIn. But in case you want to take an early peek at them, here’s they are: (in no particular order)

Double Double Toil and Trouble Yields UWM’s Theater Department’s Gripping Presentation Of Macbeth!

American Players Theatre Closes 2023 Season With David Auburn’s Proof!

Milwaukee’s Kith & Kin Theatre Collective Presents Pulitzer Prize Winner: Next To Normal!

Ghostlight Theatre: Green Day’s Musical Based On American Idiot!

The Curious Incident Of The Dog In The Night-time at Lake Country Playhouse!

Lake Country Players present : Cabaret!!

Renee Cox: Yo Mama’s Pieta: In Memoriam Of All Those Recently Lost…

A Tale Of Two Cities: Notre Dame Cathedral and Hagia Sophia

Can We Conserve Time Based Media in the 21st and 22nd Centuries?

First Stage’s Young Company Presents Shakespeare’s Henry IV (Part 1)

PENWERN/A Visual Study (the Fred B. Jones House) by Peter Yankala

I come by my admiration of the architecture of Frank Lloyd Wright honestly but also a bit by coincidence. Of course, as a son of Wisconsin and interested in art and architecture I knew who he was…but the flickering fire was lit by an art history professor at the University of Wisconsin – Waukesha who was completely smitten…and then moving on to the University of Wisconsin – Milwaukee where a number of his buildings are there to stare at from the street!! And post college, I spent two years living in Oak Park IL which is a treasure trove of his buildings from nearly all periods in his development and essentially a living museum.

So it should come as no surprise that I belong to a number of Wright oriented Facebook groups or that I have visited a number of his notable buildings in my travels. But I had never heard of Penwern, originally built as a summer estate nearly in my backyard on Lake Delavan in Wisconsin. Well, until, a Facebook friend announced that he was publishing a book: PENWERN/A Visual Study. So I immediately contacted photographer/author Peter Yankala and ordered my own copy of the book…and that’s what I want to talk about here!

<editor’s note: all photographs used here are copyright 2023 by Peter Yankala and don’t do those in the book justice since I downloaded them from the internet>

Gatelodge at Penwern © 2023 Peter Yankala

This is an exquisite book ideal both for the Wright scholar and the merely curious. It’s main strength lies in Yankala’s expertise as a photographer and we are blessed in the fact that he was allowed extended access to a still private estate. The book is saturated with remarkable color photographs showing all four buildings on the site in great detail…including in all seasons and all times of day. And Penwern is noteworthy because it was designed by FLLW at a pivotal point in his development as an architect.

planters are distributed throughout the Penwern estate © 2023 Peter Yankala

Frank Lloyd Wright designed the buildings for Fred B. Jones at the inception of the 20th Century as a summer estate on Lake Delavan as a retreat from the summer heat of Chicago. Jones was a wealthy manufacturer who supplied materials for the growing railroad industry. He and a number of his wealthy friends secured properties on the lake and built adjoining estates. I won’t delve into the details but another strength here is Yankala’s weaving of the history of the period into the history of the site and the history of an architect. He can tell the story far better than I!

Mainhouse at Penwern © 2023 Peter Yankala

As you see from the various photographs scattered through this post, Wright, true to form, utilized the site to best advantage for his architecture. And he used local materials to keep the buildings grounded to their environment…and in relation to one another…and to nature through texture and particularly light. Yankala brings this out in great detail in easily understood prose and of course illustrated in stunning photography. And every native Midwesterner will surely sense the comfort and grandeur and sense of place Penwern exudes from the extended use of field stone in foundations, supports, and decoration. Well done to Wright’s genius and Yankala’s as well!

Gatelodge at Penwern © 2023 Peter Yankala

There is a lot more to the story than I’ve let on. And again Yankala tells it in just the right amount of detail. But there is a bit of tragedy as the boathouse burned at one time and it was decades later before it was restored. And that leads us into the happy ending as preservationists Susan and John Major took on the role of stewards of Penwern and have restored it to its original design and sense of place. And it is through their kindness that Yankala had the opportunity to tell their story as part of Penwern and bring us up to date over a hundred years later.

Boathouse at Penwern © 2023 Peter Yankala

As I stated earlier, the book is filled to overflowing with full color photographs of the houses and grounds and details that provides the reader with a great sense of place and being. And the text provides history both old and recent in clear and concise language in a very logical order. And the design of the book aids the reader…it can be read front to back with a great deal of enjoyment as I did on a recent winter weekend. But the photographs are placed within the text so that discussion matches vision and one can refer back easily to the story by just identifying the photograph! Bravo.

lake view from Mainhouse over the Boathouse at Penwern © 2023 Peter Yankala

And for the curious: Penwern was the name selected by Wright, comes from the Welsh, and means “head of the field”.

Do you want to know what I know

Peter Yankala via his father!

For those of you interested in acquiring your own copy of Penwern/A Visual Study, you may contact Peter Yankala at yankala@yahoo.com. TEXT 847-321-5244 LAND 847-381-1282 @penwernavisualstudy