Alec Soth has a rare gift for transforming glimpses of ordinary life into extraordinary images — and now we have a chance to see some of his finest work.
Pedestrians passing by the Madison Museum of Contemporary Art’s State Street Gallery last month saw what might have looked like a construction zone. Instead, they were witnessing the birth of art.
This time of year, there’s no better public art than our autumn leaves, and one of the best places to see them in Wisconsin is Devil’s Lake State Park. That park’s packed with other sorts of art, too, albeit art that’s a little out of the ordinary. And some of it is at risk.
A. Rey Pamatmat doesn’t want to tell me anything about his new play, after all the terrible things I do.
A few years ago, visual artist Sonja Thomson and storyteller Adam Carr teamed up for a temporary public art piece called Here, Mothers Are, which relayed in words and installations the stories of families in the neighborhood around 24th and Locust streets. The project was a precursor to their latest endeavor, Listening to Mitchell. This time, they recount the memories and testimonials of historic Mitchell Street.
Three exhibitions at Marquette University’s Haggerty Museum of Art offer a powerful meditation on time and existence. Works by Alfred Leslie are built upon multiple layers of perception, and the echoes of memory in the present. The photographs of Nadav Kander ask if the cosmetics of new bridges and buildings are capable of destroying history. Collectively, the work of these artists draws up the edges of personal and cultural history with aesthetic persuasion.
Madison students will find more art in the schools this year — lots of it, in all forms.
Postcards from America, on view through Oct. 19 at the Milwaukee Art Museum, uses the idea of a postcard like a diving platform. The artists make the concept a jumping-off point for plunging into pools of local culture. Each diver makes a splash and interprets the idea in an individual style. There’s no imagining the postcard as a cutesy, trite image or the reduction of a place into a static symbol here — those stereotypes are firmly quashed by the varied interests of the exhibition’s 11 photographers.