Tag Archives: jazz gallery

Rhythm Changes quiet evolution

By Joey Grihalva

With year-end “Best Of” lists populating News Feeds and other media spaces, they are being met with equal parts vindication and scorn. Some allege favoritism, while some promote their praises. Others — like Sam Kacala of Rhythm Changes — quietly take note of the underappreciated, the overrated, the justified, and move on. Kacala would rather focus on the music he’s creating with his band.  

Sam Kacala is one of the most understated artists I’ve met in the Milwaukee music scene. It may have something to do with the fact that he works with youth at his day job. Kacala is the Character & Leadership Coordinator-Supervisor at the Don & Sallie Davis Boys and Girls Club.

As a result, I figured Kacala would be an ideal candidate for the in-school performance series I produced as part of the Arte Para Todos festival back in April. Rhythm Changes not only entertained and interacted with a gymnasium full of students at Gaenslen Elementary School, Kacala even assembled a student/teacher band for an on-the-spot jam.

In terms of underrated Wisconsin releases, 2015’s The Message is Real by Three. Stacks. Eliot (TSE) is one of the best examples. Rhythm Changes is the current incarnation of TSE, representing both a lineup and name change. The band continues TSE’s tradition of being a premier hip-hop/R&B backing band, while creating their own jazz-pop sound.

“Three. Stacks was done as a group when Teddy decided he was going to Japan,” says Kacala. “Even though I still speak for the band in terms of press and what not, it’s more of a collaborative project. Three. Stacks was more so me and Teddy’s vision of collaborating with hip-hop artists, specifically Klassik.”

TSE achieved their goal of collaborating with Klassik for a number of memorable performances in 2015, including one at Brady Street Festival and another at the Grain Exchange Building with the Milwaukee Ballet.

“Once that happened and we put out the album it was like, ‘Well, this is it. This is what we set out to do.’ Then we added new members and it became more of a group change than a name change. We have a lot of fun playing together. Our stage presence is like we’re laughing at each other.”

Rhythm Changes added Kyndal Johnson and Curtis Crump to TSE members Cody Steinmann, Calvin Turner, and Kacala. Earlier this year they produced a debut EP — We Had No Choice. Unlike the slew of guest rappers and vocalists on The Message Is Real, We Had No Choice is feature-free.

“It came together really quickly. It took a couple months to develop the music and then we recorded it all in one session. Kyndal’s vocals are somewhat repetitive, so it’s not a huge lyrical project. That helped the process. She’d be in rehearsal scatting, come up with a lyric line, then repeat it,” says Kacala.

Like The Message Is Real, the Rhythm Changes EP was recorded in Kacala’s parents living room.

“It’s so comfortable for me, though I can’t speak for the rest of the band. But we always get stuff done there. I like to have my hands on every part of the project. And I think it’s more of a learning process for me that way,” says Kacala.

Rhythm Changes threw an EP release party in September at Jazale’s Art Studio in the Bronzeville neighborhood. The lineup featured Genesis Renji, a stand-out guest on The Message Is Real. Renji — who recently moved back to Milwaukee after living in Washington, D.C. — is one of the most underrated hip-hop artists around according to Kacala.

“The release show was a great night. Renji is one of the hardest working rappers, but I don’t think he gets the credit he deserves. It was a great moment for people to see how raw his material is. It was just him, no mic, nothing but his voice. He did a piece on diabetes and two on gun violence. People started tearing up,” recalls Kacala.

Back in 2013 when TSE was starting out the band produced a showcase series at the Jazz Gallery Center of the Arts. Among those first performers were WebsterX, Vonny Del Fresco, Lex Allen, and Emmitt James. Kacala prefers the art gallery/cafe setting to a traditional bar venue, where he feels people are more concerned with drinking than the music.

For the Rhythm Changes EP release at Jazale’s, Kacala and Darren Hill — Jazale’s co-founder  came up with an idea to do an art raffle.

“Vedale Hill is my favorite artist in the city. So we bought four pieces from him and ended up raffling off two of them. Kyndal had an artist that wanted to get her work out there so she had a piece there too. We had them on display at the front and each person got a raffle ticket when they walked in, but you could also buy them for a certain price,” explains Kacala.

“We raffled them off at the end of the night and we didn’t expect people to get into it. But the crowd was so intimate that people ended up bantering back and forth about who wanted what piece. It felt like I was watching a scene from a play.”

Kacala — who taught a free drum camp for kids at the Jazz Gallery in the summer of 2015 — will return to the East Center Street venue on Friday December 23, as Rhythm Changes will be the house band at the Freespace Holiday Fundraiser. Freespace is an all-ages, free, monthly, (mostly) hip-hop showcase featuring youth performers and established artists. It is the brainchild of high school English teacher Vincent Gaa and Sam Ahmed (WebsterX), with production help from designer Janice Vogt and KaneTheRapper. It provides an opportunity for youth to learn from and interact with professional musicians, as well as their peers.

“As a musician, I think it’s important to ask yourself if you are making a positive impact on your community,” says Kacala.

“We’re going to move on someday, whether it’s to a bigger stage or to no longer making music, so it’s important that young musicians have a chance to take our place. Music also kept me out of trouble. I was given so many opportunities and wouldn’t be where I am if not for older musicians taking the time to help me, so I expect that we do the same for the next generation.”

For more information on the Freespace Holiday Fundraiser click here.

To listen to Rhythm Changes’ We Had No Choice click here and Three. Stacks. Eliot’s The Message Is Real click here.

Wisconsin Sound #4

As summer winds down Wisconsin music fans soak in the last sun-drenched and moonlit hours of outdoor music. The threat of rain held at for the inaugural Milwaukee Fringe Festival, where Tigernite and Milo turned in powerful headlining sets. The Underwear Bike Ride in Milwaukee’s Riverwest neighborhood threw another epic after party. Hear Here Presents, an independent video performance series, moved into a new studio space. Christopher Porterfield (Field Report) tells me about Argopelter, his improvisational rock trio. Plus, a new video from Milwaukee rapper AR Wesley featuring Von Alexander, and WiG recommended events.


Back when I was a college radio DJ and video student in Minneapolis I occasionally helped shoot the “Live on Radio K” in-studio performances. These are intimate recordings with up-and-coming bands, similar to the “Live on KEXP” series. While both 91.7 WMSE and 88Nine Radio Milwaukee host in-studio sessions with local and national bands, these performances are not video recorded for the public.

Hear Here Presents, an independent series produced by local comedian and music lover Ryan Holman, is filling that void in Milwaukee. The series is inspired by Audiotree Live, NPR’s Tiny Desk Concerts, La Blogothèque, Live & Breathing, and Live on KEXP. In their first year Hear Here Presents has captured over 20 performances with local and national bands including Soul Low, Foreign Goods, and BUHU. This summer they moved from a loft on South Second Street across from Purple Door Ice Cream to the Lincoln Warehouse on South First Street.

Hear Here’s new home is shared with eleven other tenants, one of them being Milwaukee band The Cavewives. Their audio engineers use it to record music, while Holman’s girlfriend Jenny Vanderheiden uses it as a studio for her painting, making it a multi-purpose space.

GGOOLLDD performs at the new Hear Here Presents studio space. (Photo: Katelyn Hoffman)
GGOOLLDD performs at the new Hear Here Presents studio space. (Photo: Katelyn Hoffman)

I visited Hear Here’s studio on a recent Sunday for a shoot with local dream pop darlings GGOOLLDD. A crowd of about forty people were mingling and snacking. The space is filled with vintage furniture, band tour posters, plants and framed landscape paintings behind the performance area. Vanderheiden has added bright, colorful rivers to the paintings.

Hear Hear Presents uses high-end equipment to record both audio and video. It is currently a self-funded and volunteer-run endeavor, but Holman’s goal is to eventually be in partnership with a larger media outlet that can provide funding and distribution, though he’d like to maintain a curatorial role.

I spoke with Holman before the GGOOLLDD shoot.

RH: The new space is more professional, it feels more sharp. The last place was great but the building was kind of falling apart. This feels more like an actual recording studio than a loft. It’s a little bit bigger than the last space and the layout is different. The audience had to be off to the side in the last space, whereas now they can kind of wrap around.

GGOOLLDD began their performance with a stripped down version of “Younger Days.” Keyboardist and guitarist Thomas Gilbert played an acoustic guitar. After a change over the band returned fully electric, and Holman’s team fired up a smoke machine. He announced it was the first time they’ve used one, which elicited cheers from the crowd. The band then played “City Lights,” followed by their signature single “Gold.” After the cameras stopped rolling they played a few more songs for fun.

Because of their move Hear Here’s backlog has grown. It will take a few months before the GGOOLLDD video is out. In the meantime click here to check out their video library and music recommendations.


Field Report is one of the most successful Wisconsin bands of the last decade. The folk rock outfit has garnered praise from Rolling Stone and Billboard magazines. In celebration of their sophomore release, Marigolden, Milwaukee Mayor Tom Barrett proclaimed October 22, 2014, to be “Field Report Day.”

As part of Arte Para Todos 2016, a festival that raises awareness and resources for struggling arts and music programs in Milwaukee Public Schools, I brought Field Report frontman Christopher Porterfield and bassist Barry Paul Clark to Escuela Vieau School.

Porterfield regaled the Vieau middle schoolers with road stories and told them how a failed commercial jingle turned into one of his biggest singles. For the actual festival Porterfield performed a daytime solo set at Lux Bar and Lounge, a small black owned establishment that doesn’t typically host singer-songwriters.

Argopelter at Boone & Crockett (Photo: Joe Kirschling)
Argopelter at Boone & Crockett (Photo: Joe Kirschling)

No stranger to non-traditional venues and arrangements, Porterfield and Clark, along with prolific jazz drummer Devin Drobka, began playing improvisational rock sets at a small bar in the Bay View neighborhood under the moniker Argopelter. The sets take place once or twice a month on Mondays at Boone & Crockett. The trio first met playing at the “Alverno Presents: Unlooped vs. Marvin Gaye” concert.

On a recent Monday I went to see Argopelter. Porterfield told me that he’s happy with the progress of the new Field Report album and that it’s being recorded locally at Wire & Vice with engineer Daniel Holter. Porterfield actually had to leave the previous Argopelter performance early because his wife went into labor with their first child.

Argopelter tunes feel like extended, epic introductions to a Field Report song. Towards the end of the second set Porterfield heavily employed pedal effects to the point where one song sounded like the soundtrack to a superhero movie trailer. Their last song brought to mind Led Zeppelin’s “When the Levee Breaks,” with Porterfield throwing in some faint vocals at the end. Overall, Argopelter is heavier and headier than what Field Report fans might be used to.

I emailed Porterfield and asked him what he likes about Argopelter.

CP: Argopelter really stretches me out. Most of what I do in other groups is composed and considered beforehand. Argopelter forces me to listen and trust. I love playing with Barry and Devin, and I’ve grown to trust myself as a player more from playing with and trusting them.

What we do is improvised, but it’s very different from jamming. It’s more meditative. It’s more moment-sensitive. It reacts and supports, and only injects point of view when one of us has something to say. We’re ok with a piece stalling out. There’s a lot of trust between us, the wonderful people at Boone & Crocket, and the audience we’ve developed. We’d all love to transcend, but we all know you can’t get there every time.

Some of the audience we’ve carved out is from the jazz community, and sometimes we invite someone to sit in on our second set. That’s always interesting. The three of us have become pretty sensitive to one another, and are hyper-aware of different energy. Sometimes it’s an exciting fit, and we all hear each other and blast off in new directions. Other times the vibe isn’t right. But every exploration yields some moment of discovery.

The next Argopelter performance at Boone & Crockett will be Monday September 12.


Milwaukee’s Riverwest neighborhood has a number of uncanny traditions. A few of those include bike riding. The annual “Riverwest 24” attracts riders from all over the city to compete in a 24-hour bike relay and communal hang. A smaller, but no less enthusiastic crowd gathers once a month in the summer for the Underwear Bike Ride (UBR). This celebration of positive body image, originally founded by Steve Roche in 2011, has grown organically over the years and regularly turns out over a hundred riders, especially when the weather cooperates.

June 2016 Underwear Bike Ride
June 2016 Underwear Bike Ride

The Underwear Bike Ride is followed by an after party concert. There have been some wild after parties, including Foreign Goods debut last summer at Bremen Cafe. Lorde Fredd33 opened the show, which took place shortly after the racially-charged South Carolina shooting. Fredd33 walked out in a ripped Confederate Flag tank top, which was eventually thrown into the crowd and lit on fire. (And then safely stomped out by Roche.) This June the Nashville-based, perpetually touring, immersive DIY dance party Terror Pigeon headlined the UBR after party at Company Brewing.

Last week Gloss Records label heads Harrison Colby and Joey Peterson got to play together at the UBR after party at Mad Planet. Their respective bands, NO/NO and Platinum Boys, opened for Baltimore’s Ed Schrader’s Music Beat. The show was originally scheduled for Quarters Rock ‘N Roll Palace, but Roche reached out to Peterson about making it the official UBR after party and moving it to the larger Mad Planet.

I wasn’t able to make it to the Underwear Bike Ride, so last Friday I went to High Dive to talk to Peterson about the show. When I arrived bartender Connor LaMue told me Peterson had just taken off for an early show at Bremen Cafe. Before leaving I chatted with LaMue, a member of the band Bad Wig, and he told me about a new noise band he’s in with Colby from NO/NO and two other people. They haven’t played out yet but they have three songs, they’re called Sex Scenes, and LaMue feels good about it. He was just getting over his hangover from the after party at Mad Planet and managed to take a tequila shot with me before I left to talk to Peterson.

Platinum Boys play the Underwear Bike Ride After Party (Photo: Ryan Patrick Ross)
Platinum Boys play the Underwear Bike Ride After Party (Photo: Ryan Patrick Ross)

JP: I was extremely pleased with the participation of the riders. It was cool to expose them to Ed Schrader’s Music Beat. There was probably 200 more people. It was a nice mix of people who were going to the show and the underwear riders. The riders bought merch and were into the bands. They had all that adrenaline after going on a cruise like that, plus they’re in their undies. That’s like taking care of three steps of the party. Ideally that’s where it gets by three in the morning, but if you’re starting that way at 9:30 p.m. you’re in good shape.

Peterson, better known as Joey Turbo, is also the singer/leader of trash dance pop outfit Rio Turbo, who will be playing the Mondo Lucha! “When Worlds Collide” event at Turner Hall Ballroom on September 9. Mondo Lucha! is an annual wrestling event inspired by the “Lucha Libre” form of professional Mexican wrestling. The event was founded by Andy Gorzalski in 2008. This year’s Mondo Lucha! will also feature burlesque dancers and a performance by Rio Turbo.

JP: I’m fucking stoked. That’s what kicked off the whole Rio Turbo thing. Not to play a wrestling event, but that idea of obsessing over professional wrestling as a child.

WiG: So you’re hitting a Rio Turbo benchmark?

JP: Yeah. I’d say all that’s left is a bowling alley and a strip club.

The final Underwear Bike Ride of 2016 will be on September 16, with an after party featuring Juiceboxxx (MKE/NYC) and Show Me The Body (NYC).

Mondo Lucha! “When Worlds Collide” is September 9, at Turner Hall Ballroom.


In addition to producing Hear Here Presents, Ryan Holman helped out with the inaugural Milwaukee Fringe Festival’s outdoor music stage. Early morning showers on Saturday August 27, were concerning, but the rain cleared up and stayed away for the entirety of the Fringe Fest’s outdoor music series.

Held at the Pere Marquette Park gazebo, the lineup included Milwaukee stalwarts Platinum Boys, ZED KENZO, Mark Waldoch, Abby Jeanne (Rebel Love), Piles, Ruth B8r Ginsburg, Ugly Brothers, and Light Music. It also featured out-of-towners Oh My Love (Madison), Seasaw (Madison), plus lesser known Milwaukee acts like LUXI, Zhivago, and Lady Cannon.

I visited the park, where the Wednesday night summer music series River Rhythms usually takes place, to catch the each headliner: Tigernite on Saturday and Milo on Sunday.

Tigernite is one of those bands that you couldn’t not hear about if you’ve been paying attention to Milwaukee music these last couple of years. They were the feature band at the 2015 Milwaukee Film Fest opening night party. This year they played just about every street festival and were one of the standout acts at Arte Para Todos. Fringe Fest would be my first time seeing a full set from the energetic glam rock band.

Tigernite at Fringe Festival (Photo: Joey Grihalva)
Tigernite at MKE Fringe Fest (Photo: Joey Grihalva)

The most prominent aspect of Tigernite’s music is lead singer Molly Roberts voice. Love it or hate it, Roberts voice is a little Pat Benatar, a little Lita Ford, turned up a few notches. Their music sounds like something from the late ‘90s/early 2000s alternative rock scene. Guitarist Maxwell Emmet has long flowing rock star hair, and he plays the part well. At one point he hopped off-stage and ran through the crowd. Roberts one-upped him and poured a jar of glitter on her head, which stuck to some of the paint she smeared on her face and arms beforehand. She was a spark throughout the set, bouncing up and down, whipping her bi-colored (one half white, one half black) hair around, and even donned shiny black wings at one point.  Between the band’s showmanship and Roberts powerful pipes, Tigernite delivered a hard-hitting, entertaining performance.

There has been much talk of the bubbling Milwaukee hip-hop scene in the last few years. In my first feature for WiG I wrote about the best rap albums (so far) of 2016. When it comes to artistry, Milo is on a level all to himself. This surely has something to do with the formative year he spent in Los Angeles with the Hellfyre Club collective. Not to mention, Milo has logged more tour miles than any other rapper in Wisconsin under 30. His stage presence has elevated considerably since I first saw him at Arte Para Todos 2015.

When I arrived at 8:55 p.m. on Sunday August 28, Milo’s signature sparse production could be heard echoing through the park. I worried that he had started early and I missed most of his set. But he was merely sound checking. Turns out, a Milo sound check is better than most rappers singles. Once he felt good about the levels he invited the modest crowd to come closer to the stage.

“It takes a lot of precious energy to rap in the park. It’s been a minute since a brother rapped in the park,” Milo told the crowd.

Milo at Fringe Fest. (Photo: Joey Grihalva)
Milo at MKE Fringe Fest. (Photo: Joey Grihalva)

Throughout his set Milo repeated the refrain, “Thanks for coming to my job,” and “Glad you could make it to my place of work.” His white painter outfit emphasized this “blue collar rap” theme. Whereas some rappers see their music as a hobby, a get-rich-quick scheme, a way to get laid, etc., for Milo rap is simply his profession. When you see him live you can tell he puts in the hours, carefully crafting his art.

When I spoke with Milo earlier this year he told me he had been thinking about how to add theatrical elements to his live performance. At his Fringe Fest set there weren’t overt “bits,” but his movements were far more expressive. His interaction and appreciation for the audience was incredibly genuine. Where most musicians connect with the audience during eruptions of noise, Milo and his audience commune in those quiet moments between songs.

Early in his set Milo showed love to the festival and the audience for embracing the fringe spirit, of which is music squarely fits into. With that spirit in mind, he debuted a new song that he created the day before. Later in the set he brought intense ferocity to an unreleased BLM-themed song with lyrics about how “David Clarke hates himself” that was so powerful it gave me goosebumps. Considering the intimacy of the park setting and the free admission, it was a very special evening. Milo’s next performance will be this Friday at the sprawling, expensive, weekend-long Hopscotch Music Festival in Raleigh, North Carolina.


SEPT 8: Athletic Supply with Iron Pizza, Apollo Vermouth, and Proud Parents (Madison) at High Dive in Milwaukee. For more on Athletic Supply see my upcoming feature on Close Up of the Serene in this issue of WiG.

SEPT 10: The Movement V2: I Am Milwaukee – This unique, family-friendly, outdoor/indoor event will take place at the Beerline Trail in Milwaukee from 3 p.m. to 11 p.m. From their Facebook event: “Using a series of compilation albums and events, “The Movement” demonstrates the power of musical talent at work in our city. Volume 2 highlights a pool of extremely talented Milwaukee producers. The release event brings together a diverse selection of our skilled hip hop, house and techno producers/djs, pushing against genre division, segregation, and building community.” For more information click here.

SEPT 10: 91.7 WMSE Backyard BBQ – In its 7th year, but first under the Humboldt Park Bandshell, Milwaukee’s favorite college radio station throws their free end of summer barbeque bash. Featuring performances by national acts Balkun Brothers, Sonny Knight and The Lakers, plus local bands Trapper Schoepp, Midwest Death Rattle and Doghouse Flowers.

SEPT 17: Rock the Green – After taking three years off, Southeastern Wisconsin’s premier sustainability-themed music festival is back. This year it will be held at the Reed Street Yards along the Menomonee River in Milwaukee. The mainstage lineup features international indie heavyweights Lord Huron, Best Coast, Robert DeLong, The Heavy, and Thao and the Get Down Stay Down. Local favorites New Age Narcissism, NO/NO, Eagle Trace, Foreign Goods, Evan Christian, and Great Lake Drifters will be play a pedal-powered side stage. Each ticket comes with a reusable water bottle. For more information and tickets click here.

SEPT 17: Rusty Pelicans album release –  Of my picks for the six best Wisconsin hip-hop albums (so far) of 2016 only one was forthcoming, Apartment 7 by the Rusty Pelicans. With two decades in the game, the Pelicans reunited their original lineup and brought in some of the best local talent to assist them on the new album, a return to form for Milwaukee’s longest-running hip-hop group. Sharing the bill at Company Brewing will be Mammyth, AR Wesley, Bo & Airo, and DJ MadHatter.

SEPT 17: Foreign Goods EP release – Gloss Records celebrates their first live recording cassette/digital release at Mad Planet in Milwaukee. Taken from their headlining set at Summer Soulstice in June, this live recording captures the dynamic performance of jazz/soul/funk/hip-hop supergroup Foreign Goods. Sharing the bill will be Lorde Fredd33.

SEPT 17: Jazz at the Jazz Gallery – Between 1978 and 1984 the Jazz Gallery on Center Street in Milwaukee was one of the premier jazz clubs in the country. Owner Chuck LaPaglia brought in the likes of Chet Baker, Art Blakey, Dizzy Gillespie, Stan Getz, Sonny Stitt, and Wynton Marsalis. Today the Jazz Gallery Center of the Arts hosts a variety of events, but are keeping their jazz legacy alive. Next Saturday features the Ryan Measel Quartet at 5 p.m., followed by the Billy Johnson Trio at 7 p.m., which features Milwaukee jazz legends Manty Ellis and Victor Campbell.


Directed by Rob Randolph and Raphael Roby, one of the best tracks off AR Wesley’s 2015 EP Time is Millmatic, “Here iGO ft. Von Alexander,” gets the slick visual treatment. The track is produced by Mike Regal, who appears in the video alongside another Milwaukee heavyweight, Reggie Bonds, and probably a few more rappers.

Nohl Fellowship Artists Go Big 

There is a lot of ambition in this year’s Nohl Fellowship Exhibition. All five of the fellowship recipients — Jon Horvath, Frankie Latina, Ben Balcom, Zach Hill and Maggie Sasso — get the opportunity to fully showcase their unique viewpoints, and they transform the Haggerty Museum of Art into an expansive journey down a variety of aesthetic avenues.

The Fellowships are born from a legacy established by Mary L. Nohl (1914–2001), an artist who lived in Fox Point and filled her lakeside home and land with unique sculptures, paintings, and other objects. Her artistic estate has come under the preservation of the Kohler Foundation, but her contribution of $11.3 million dollars to the Greater Milwaukee Foundation before her death supports this program.

The Nohl Fellowship Exhibition features the works of all five artists who received grants in 2015 after a nationally selected jury panel picked them out of a pool of 158 Milwaukee-area artists. Two fellowships went to “Established Artists” (Horvath and Latina), while three went to “Emerging Artists” (Balcom, Hill and Sasso). Curator Nicholas Frank has thoughtfully arranged the exhibition to present the work of each as if it were its own solo show.

Sasso’s installations are an impressive opening. The symbols and tropes of the sea draw Sasso’s attention, and her installation, “Too Much Sea for Amateurs,” is inspired by the Milwaukee Breakwater Lighthouse, the large white structure that looms over Lake Michigan east of the Hoan Bridge and the Milwaukee River. The lighthouse becomes a symbol of safety and isolation, history and function.

Built in 1926, the lighthouse has quarters for a lighthouse keeper designed in an art deco style. But for all the glamour that might suggest, that occupation could be a pretty lonely existence. On a recent boating trip, friends and I mused as much: There is no way to reach it except by water. What is the address? Would Peapod deliver groceries? Would Amazon send a drone with books and DVDs?

Sasso recreates the lighthouse on massive scale in the landmass of the gallery, crafted out of heavy-duty textiles. Photographs of a salty old mariner and other nautical sculptures complement her themes of allure and undercurrents of distance.

Memory infuses Balcom’s installations. Posed against a black grid with white lines like a digital framework, black-and-white videos are combined with colorful abstract spots of light. These are punctuated with fake green ferns mounted on light stands, a nod to organic references within the sphere of artifice. It is like visiting a closet of memory, and the way things that are seen, whether films or life experience, seem abstracted as the past is recalled in the present.

Hill’s lights and video projections also create varied backdrops, but at the center is a technicolor sculptural installation like a fountain of life or ritual space. Vibrant purple swirls make a pool around a towering pointed structure, and at its base is a large glass jug filled with fluorescent yellow liquid. The images projected speak to youth, culture, the presentations of fashion and crisis of identity. Hill’s visual effects are slightly psychedelic, floating on a colorful buoyancy despite the sometimes darker emotions touched upon.

If there is a discernible difference between the emerging and established artists, it seems that the latter show elements of their overall practice, rather than a singular, self-contained installation. Filmmaker Latina’s work is represented by films as well as a selection of paintings and drawings. Watch his clips as works make cameo appearances, as though bringing the time-based characters of film into physical presence.

Horvath takes a more literary approach, using a potent mixture of text and objects to suggest narratives about coming-of-age, familial nostalgia, and personal journeys.

The experience of the exhibition is enveloping — the works often engage the viewer with multiple types of media all at once. It’s part of the tendency in contemporary art to create works that are not singular, precious objects. Instead, they are but part of a deeper, metaphorical context that expands over multiple objects, and engages the viewer with a rich experience.




Jazz Gallery Center for the Arts, 926 E. Center St.

Exhibition continues through July 2

Photography fans will be treated to a group exhibition featuring a diverse collection of notable eyes. From the figurative works of Michael R. Flasch to the images of Antarctica by Jeffery Worman, there is plenty to see. Other artists include Amy Schmutte Hoeffel, John Ruebartsch, Christina Zawadiwsky, Christian Becker, Jessica Jurick (Lomo photograhy), Barbara Budish, Jack Long, Rosy Ricks, and Philo.

‘The Art of Collecting’

Charles Allis Art Museum, 1801 N. Prospect Ave.

June 16 to Sept. 18

The permanent collection of the Charles Allis Art Museum is more than an amalgamation of disparate things. Rather, it is a reflection of the original owners of this historic home, Charles and Sarah Allis. This exhibition sheds light on objects on regular display, as well as unique items rarely seen, along with the stories of their acquisition.


‘Temporary Resurfacing II’

Historic Mitchell Street

8:30 p.m. to 12:30 a.m. June 18

“Resurfacing” happens during the extensive summer construction season, but this is a reworking of a totally different kind. More than 30 regional and national artists will participate in this one-night-only project involving installations and video projections located over two blocks on Mitchell Street. It is an art party that takes place outdoors as well as inside various locations.