Since my discovery of a number of related public sculptures in Milwaukee’s Lake Park and my documentation of them here at An Intuitive Perspective, these sculptures have become touchstone landmarks for me as I travel from my home up along the lake front. I am disappointed when traffic volume requires all of my attention and I can’t spot them as I pass. First article from December 12, 2021 and Second from February 12, 2022.
So this past Monday, April 25, 2022, I was unbelieving when one of my favorites had been changed. So on my way home I had to check again and yes indeed, the sculpture had changed. Whether the change was completed by the original artist or another party, there is no way for me to know. I am leaning toward the originator and would hope that it hasn’t been ‘vandalized’ by someone else.
So what am I talking about? Well, here’s the original configuration of the sculpture, as I first encountered it.
As you can see the concrete discs are facing the park and street…but on Monday and on Wednesday April, 27, 2022 when I took the following photographs, we are now viewing them edgewise.
And of course sculpture is a three dimensional art form that should be experienced in the round…and setting these into a tree at the base of the bluff somewhat restricts viewing angles and maybe flattens out the sculpture. But turning the stones that ninety degrees now presents us with an entirely different sculpture and experience. I like it but I will admit to preferring the initial presentation.
So I will continue to enjoy my interactions with this wonderful pieces and see where we and they go from here.
And I am waiting for a warmer day to walk the lake front to see if there are other stealth hidden treasures in the park that I haven’t been able to discover from my car…whether there is more to find or not…it will be a remarkable experience nonetheless to explore Lake Park and environs on foot after too many years absence.
P.S. If anyone knows the artist, I would love to talk with them about their vision and practice.
Back in the day when I attended the University of Wisconsin Milwaukee (fall of 1970 through December 1973), Bolton Hall was a free standing class room and office building. It was relatively new having been completed in 1964. It faced the grassy quad area north of Kenwood Boulevard and was north east of the original Student Union. Although not quite a brutalist building, it was certainly a design product of the period.
Today it is connected to the expanded Student Union. And instead of leaving one building to access the other, today you can access Bolton Hall from the Union via a glass enclosed walkway and there’s the rub. The walkway is visible in this contemporary photo of the building taken from the Spaights Plaza, a concrete expanse that replaced the green space during the Union expansion when a two level underground parking structure was built as part of the expansion.
screen capture from the University of Wisconsin Milwaukee website
The approach area to Bolton Hall from the south (the Union and Kenwood Boulevard) include a series of what apparently are cast concrete panels with an organic pattern incised into them. These panels appear on the south side at ground level facing the addition to the Student Union (which was completed in 1973 I think but I haven’t documented that at this time) and on the southeast entrance to the building. I have been on campus a bit over the past few years but haven’t walked around the building so I don’t know if this decorative motif adorns other entrance areas.
But here are few views of the southern exposure facing the Student Union. Quite a nice motif at ground level for an otherwise rather faceless building.
These are still outdoors along a little used walkway but clearly visible from the food court seating area in the Student Union. So they are still being seen as they were meant to be seen for the most part. Although of course the space is confined compared to when there would have been open space south of the building back in 1964.
Now there are similar decorative panels at the south east entrance to the building that are enclosed in the glass atrium walkway. So you’d expect them to fair better being out of the elements and maybe they would…if not for the callous intervention of mankind. Here, take a look and you will see what I mean.
These poster frames are simply screwed into the concrete panels, totally disrespecting the integrity of the art work and the architecture. And they don’t really need these posters here. The university posts similar media on the the glass windows of the walkway and the Student Union on a continuing basis and being a high traffic area no one stops to read these anyway. I know, I had to work quickly to avoid including students in my photos…and the quality and focus suffered as a result. The following photo is the northern portion of the series without any disfigurement. I didn’t check to see if the was any sign of previous posters or frames.
I don’t quite get the cavalier attitude that the university has taken in regard to this art work. They have carefully maintained any number of old…including very old buildings on the old Downer campus and of course the venerable Mitchell Hall. So they still work as comfortable classroom buildings. Why the careless disregard for this one…well…particularly the artwork meant to enhance the building and the student experience?
I majored in the visual arts and was urged to attend UWM because of their outstanding fine arts program. I loved my experience there so I don’t understand how this could happen. Was there or was there not any complaints from the art department or art faculty. And UWM also has a world class architecture school. Didn’t they notice the disrespect shown for a key building on their own campus?
I urge UWM to remove the frames and perform any restoration necessary…let these concrete murals speak for themselves…unblemished!…unhindered!
And one more photo from another vantage point. This one is from the north east portion of Spaights Plaza.
screen shot from https://www.emporis.com/buildings/281345/bolton-hall-milwaukee-wi-usa
If you’ve been following along you know what I did on my pre-holiday vacation. A little trip to Cleveland and a lot of time spent at the Cleveland Museum of Art.
Just across the hall from the Revealing Krishna show is Picturing Motherhood Now! Quite a thought provoking locally curated show that presents us with a lot of different representations of what we think motherhood can be. Some of the works are exceptionally touching. Some of them didn’t quite connect me to the idea of motherhood. But there is a lot of very accomplished and dynamic work to see here.
One of the paintings that captured my attention and emotions is Portrait of her Mother by Mequitta Ahuja (American, born 1976). She writes, “I make paintings by scraping away paint, figuring something new out of loss”. This painting was done during the last months of her mother’s life and I find it quite compelling.
Another painting that puts me in a similar frame of mine is Titus Kaphar’s Not My Burden. The painting features two Black women who have been touchingly depicted and are certainly two individuals. But they are holding children consciously absent…so absent that the canvas has been actually cut away to show the exposed gallery wall in a brilliant white. The museum wall card suggests that the missing children might represent white children who are often cared for by Black women or Black children who have been tragically lost and a hole is left to their mothers. This painting is probably the show’s centerpiece and most gripping…
There are a number of very elegant but evocative sculptures as well. This clay mother and child or Madonna by Rose B. Simpson (American, born 1983) is a prime example. Ms. Simpson is working with traditional methods used by her family and ancestors in the American Southwest. Titled Genesis this sculpture is both tied to our immediate era and timeless at the same time.
And then we have a group of multi-media sculptures by Alison Saar (American, born 1956) that are troubling in their content. These works are based on an enslaved child character, Topsy, from Harriet Beecher Stowe’s anti-slavery novel Uncle Tom’s Cabin. I am going to post a number of photos here. One from the museum that shows us the clear vision of Rice, one of three sculptures on display from a series of five. And then I will provide two more that I took that show all three in the context of the show. The three figures are Indigo, Cotton, and Rice. The youngster is clearly shown wielding the tools of slavery and harvesting cotton. A clear indictment of our past…and a prod to think about what that means to our present.
Picturing Motherhood Now runs through March 13, 2022. This show is ticketed and tickets can be purchased online at the link shown here. Be sure to check the museum website for COVID precautions before visiting.
Ginny and Andrew, 1978 by Alice Neal (American, 1900 – 1984) oil on canvas, from a private collection. photo by Ed Heinzelman
