Now - In Locations Throughout The Neighborhood
Shoreline Repast, 2017
double-sided aluminum, paint, steel, recycled wood, hardware
72 x 78 x 4 inches
6 x 6 ½ x 1/3 feet
Commissioned for Sculpture Milwaukee 2017
Milwaukee-based artist Paul Druecke explores the various forms of public inscription that exist in our landscape. From faux National Park service historical markers to poetry-infused welcome mats, his experiments replace “official” language, that fix value and identity, with alternative narratives and cultural structures that allow us to consider how our world is shaped.
Druecke’s Shoreline Repast, commissioned for the inaugural Sculpture Milwaukee 2017, borrows the visual form of a public, commemorative plaque to celebrate Lake Michigan, the most important site of Milwaukee’s public rituals. The plaque appears to sink into the ground. The shift in orientation, which reconfigures the plaque's perpendicular, upright relation to the earth, magnifies the symbiotic, conditional nature of landmarks and the culture that erects them. Each side has a different style of language, showing the difference between our public and private worlds.
painted epoxy resin, fiberglass and urethane foam on welded stainless steel armature
84 x 108 x 120 inches
7 x 9 x 10 feet
Paula Crown has an active studio practice of drawing, painting, video and sculpture, using high tech tools and ancient techniques while committing to sustainability. Her practice is also rooted in social activism.
For several years Crown has created work to bring the growing environmental crisis caused by single-use plastic to our attention.
The image Crown uses is the ubiquitous red plastic SOLO cup that has become synonymous with frat parties and floating refuse. Crown suggests through her giant work JOKESTER, 2018, that although there is a big party going on somewhere, someone is responsible to clean up afterwards. The slick red cup—a cry of joy or alarm—sits sedately on the sidewalk, unaware it is crushed and discarded after a rough night’s use. Crown’s giant red cup, crafted to perfectly mimic the throw-away culture we live in, becomes a shameful reminder of how we treat Mother Nature.
Paula Crown was born in 1959 in Marblehead, Massachusetts, and lives and works between Chicago and Aspen, Colorado. She earned her BA at Duke University, Durham, NC, in 1980, and an MFA at the School of the Art Institute of Chicago in 2012.
Jason Pickleman is an artist and designer, known for producing graphic material for a wide-ranging cultural clientele through his studio JNL. Pickleman’s Icons series, which includes works across painting and sculpture, examines the universal qualities shared by enduring cultural symbology and the visual language of civic communication.
Hand Heart directly addresses the continuity that exists across the history of visual form making—from cave drawings to the pictograms of contemporary international wayfinding signage—to form a symbol of compassionate empathy that supersedes language to become universally communicative across lines of age, race, gender, and culture.
Artista con el nopal en la frente / Artist with the Cactus on the Forehead, 2019
Existimos en el futuro / We Exist in the Future, 2019
El surgimiento de una nueva realidad /The rise of a new reality, 2019
Salvador Jiménez-Flores is an interdisciplinary artist whose studio practice encompasses community-based work including drawing, ceramics, printmaking, and mixed media sculpture. His work examines the politics of identity and the state of double consciousness, addressing issues of colonization, migration, “the other,” and representation.
The works on view in this exhibition (produced during the artist’s participation in the John Michael Kohler Arts Center Arts/Industry program) address the desire to create a new space, a new reality, and new futures in the face of socially and politically challenging times; something Jiménez-Flores uses his position as a working artist as a platform to inform and generate community discourse around.
Plein Air Super Catcher
Born to Native parents and adopted by a German-American family, Brad Kahlhamer was raised in Arizona and Wisconsin, and spent his early adulthood as a musician living on the road before settling in New York City. Informed by this nomadic history, Kahlhamer’s work explores the particularities of the American landscape: the desert ecology of the Southwest, the parks and waterways of the upper Midwest, and the urban streets of the cities of the Northeast are all common source material within his works.
His Dreamcatcher series draws on the form of a traditional Native American symbol of unity and identification, which over time has become commercialized and often appropriated. This choice invokes the complexity and multiplicity of cultural histories, as Kahlhamer examines the cultural hybridity of navigating multiple communities simultaneously, while addressing questions of representation of Native culture in the 21st century.