Museum of Wisconsin Art Plans To Re-open In July

From my email this morning! I am looking forward to MOWA and other museums eventually re-opening.

The past few months and weeks have thrust extraordinary and unsettling change into all of our lives. Whether the result of the global pandemic and the financial crisis or the shocking reminders of brutal injustices inflicted on our nation’s communities of color, one thing is certain—no one has been untouched. As these disturbing events have unfolded from hospital wards to city streets, it has become increasingly clear that there will be no going back to what we were or how we functioned just three short months ago. Nor should we. 

When I last wrote to you in early April just days after closing the museum, I felt a keen sense of loss and even nostalgia as the museum plunged headlong into an uncertain future. Today, as we prepare to reopen in early July, I am saddened by the suffering of so many of our friends and neighbors and the disproportionate impact of these disturbing events on our communities of color. But I am also buoyed by a sense of optimism that MOWA can do more in these challenging times. 

Museums have always played an important role in creating platforms for difficult, thought-provoking conversations. In MOWA’s role as the museum for the State of Wisconsin, we also have a responsibility to represent and support all of our communities—black, brown, and Indigenous as well as white and all others. I and our Board of Directors take that mission seriously. Over the last couple of years, MOWA has made significant progress in increasing exhibition opportunities and in supporting emerging artists from black and brown communities. But we acknowledge that we can do more to promote racial and social equity in everything we do, and we will. 

As MOWA’s Executive Director, I pledge to all of you that in the coming weeks and months, the museum will implement the following initiatives:

When we reopen in July, our members will find reinstalled galleries, educational materials, and future exhibitions that create a more inclusive story of Wisconsin art 

We will take immediate action to increase the diversity of our Board of Directors and to provide anti-racism training for our entire staff and volunteer corps

We will make a commitment to acquiring artworks that further expand the diverse voices of the museum’s permanent collection, and 

We will create an ongoing, paid internship to support a university student of color seeking a career in the museum industry.

So, yes, I am optimistic, more optimistic about the future than I have ever been. I believe that MOWA and the arts can be part of building a better and more equitable community. My staff and I do not have all the answers and we will undoubtedly make mistakes along the way, but we will learn and we will look to all of our devoted members to help guide us.  

Together, we can and will do so much more. 

Laurie Winters

Executive Director | CEO

MOWA stands with our Wisconsin communities during these challenging times and we support Black Lives Matter

Very positive changes and I am excited to see what their new programming will include.

And for those of us concerned about going out in public again…MOWA is taking precautions for visitors and employees in light of the COVID-19 pandemic. They plan on opening July 8th and here is the safety information from the museum.

but just a couple of highlights, typical for most businesses as they re-open:

Reducing capacity requirements by 25% to ensure social distancing.

Access to hand-sanitizing stations throughout the museum.

Mandatory face coverings for all members, visitors, and employees. Disposable high-quality face masks provided free of charge if needed.

Special hours for seniors (60+) and vulnerable members to access(Wednesday – Sunday, 9:30 am – 10:30 am).

So, stay safe, and enjoy Wisconsin Art!

Nares : Moves

This is a reprint of my remarks about “Nares : Moves” a special exhibit presented at the Milwaukee Art Museum from June 14 through October 6, 2019. This originally appeared on my Facebook timeline October 6, 2019.

 Nares : Moves was the featured exhibition at the Milwaukee Art Museum from June 14 through October 6, 2019 in the Baker/Rowland galleries. Unlike traditional retrospectives that follow an artist’s career chronologically, to best display Jamie Nares work, the MAM arranged it in related media or content or styles. Every piece here displays a fascination with motion. And he is quoted in the accompanying brochure: “Things in motion, motion in things”. Some work better than others. And Nares is a student of this era and also representative of a number of movements from her half of the 20th Century.

James Nares, It’s Raining in Naples, 2003. Private collection. Image courtesy of Kasmin Gallery and copied from the Milwaukee Art Museum website.

There are any number of videos throughout the exhibit and they all examine motion in one form or another. But there aren’t people in them. They focus on concrete balls that are free range filmed rolling down ramps or suspended from steel cables to act as a pendulum. The people who happen to appear are unintentional or are acting to make the movie or moving the objects. Incidentals.

Or appendages…as they appear…waving ribbons…snapping fingers…waving in repeated motions…so the motions and shadows are captured on film. And often time and motion are distorted or manipulated by playing with the film speed…Nares loves slo-motion in its own right.

There is one major exception to the no people as actors…it’s a longer film taken as continuous street scenes…where the people don’t know they are actors…and the camera is simply a voyeur…and again slo-motion exaggerates and distorts the sense of motion. This film is also manipulated a bit as it seems that Nares focused on the street people and cut out portions that were intersections or building-scapes.

The entire thing brought to mind early videos of Andy Warhol who often pointed cameras at buildings and let them run on for hours. Or some of his screen tests where his friends or stable babbled or did mundane things without any real context or dialogue. In both Warhol and Nares we seen change and motion…but to the modern sensibility nothing is happening. Nares utilizes sound but it isn’t what you would consider a soundtrack…and it varies…but it helps establish a sense related to the visuals. The footfalls chasing the concrete ball with the camera as it rolls away from him is compelling.

One film in the pendulum room showed Nares signature concrete ball being used as a pendulum. This went on for quite some time and was shown from a number of angles and lighting effects (all natural light). The film is so grainy that if it hadn’t been depicting the motion of the pendulum and been simply a screen shot or stop action photo, it could easily have been one of Georges Seurat’s black crayon drawings.

Nares also did a number of photographs that depict the human figure in motion using time lapse photograph. Any number of Polaroids and Cibachrome photos where we see the figure moving through space, overlapping its own features, and trapped in amber so to speak. The figures are anonymized as the faces are never shown. A rather unique and perhaps modern take on Eadweard Muybridge’s own stop action motion studies, but all in one rather than in series. With the time lapse overlays, Nares has made his more interesting and they feel far more sculptural.

I spent some time in the room labelled Portraits. As I observed the portraits, a lot of people just walked right though the room. But you had to observe these portraits, not just look at them. The theme here is ‘moves’. And if you stand and observe the portraits, you realize that they aren’t photographs of head shots. They again are slo-motion videos and if you stand and observe you will notice a face shift from somber to smiling or eyes blink closed and open or hands clasp and unclasp. The result is far more a portrait than a typical portrait photograph.

I am not sure I appreciate Nares as a painter. Her high-speed paintings seem more gimmick than art. Large pieces of paper are taped around a cylinder and then rotated. As they rotate Nares applies paint to the paper until she is satisfied with the result. And the final painting is a long horizontal painting with horizontal lines in the selected variety of color, thickness, or waviness that didn’t tell me anything. More an experience to do than to see.

And her large waves of color paintings have all of the pop and flare and color and craftsmanship of pop art of the period. Pretty. Unobtrusive. Not memorable. Maybe a little bit cold. I didn’t enjoy them.

And the spotted leopard skin paintings? What?

To close, let me share these quotes from the brochure by contemporaries describing their paintings:

Frank Stella: “What you see is what you see”.

James Nares: “What you see, is what was there”.

More info on the show with video and audio items on MAM site here!