Bronze, Fonze, and Folly?
By Katherine Murrell
What inspires people to visit cities? Why does someplace like
Minneapolis tend to have more tourist trade than, say for
example, Boise? A simple enough question, sure. But the
general trend is that large, lively, vibrant places with lots of
exciting things to do and see tend to get more attention. Arts
and cultural often factor significantly in the development of a
place’s reputation as a destination. Public spaces and
monuments play a role here, especially as famous locations in
any given metro area may act as a magnet for sightseeing out-
of-towners. It’s an interesting phenomenon, how we are drawn
to places that are recognizable among the unfamiliar. Among
the tourist set, there is frequently a compulsion to document the
apex of the event by photographing oneself in/at/experiencing
said landmark. It’s almost like it’s proof that we were there.
Such is the draw of the tourist attraction.
VISIT Milwaukee, a local promoter of tourism in Milwaukee, has
contrived a new destination in the form of a proposed bronze
sculpture of Arthur Fonzarelli. Yes, the name rings a bell…is
he a significant personage in the history of Milwaukee, or a
leader in our Italian community? Ah, nope…. he was the “wise
but cool guy” from the 70s TV series, Happy Days.
For a recap of the numerous writings and commentaries on the
project so far, see the JSOnline article by Tom Daykin, Mary
Louise Schumacher’s post on her Art City blog, Molly Snyder
Edler’s article at OnMilwaukee.com, Artsy Schmartsy at MKE
and Michael Horne’s Milwaukee World blog.
In short, the idea has roots in the TV Land Landmarks project
where famous characters from old shows were erected in the
city of their fictional settings. Ralph Kramden hangs out in front
of a Port Authority bus terminal in NYC, Samantha of Bewitched
fame perches on a crescent moon in Salem, Mass. So though
this is not a project affiliated with TV Land, the idea follows suit
with the Fonze and his Milwaukee connection.
There is plenty to be said about unreality here. Fonzie is a
fictional person from a Hollywood show produced in the 1970s
that takes a nostalgic and whitewashed look back at the 1950s.
The show is set in Milwaukee, but could as easily be
Cleveland. Ideas that there should be any authentic
connection or history associated with the “bronze Fonze” seem
to be moot. He’s meant to act as a prop for tourist photos. You
in Milwaukee with the Fonze. Ayyyyy…
So how have some of these other projects fared? In our near
environs we can look to sculptures that were part of the TV
Land project: Bob Newhart in Chicago and Mary Tyler Moore in
Minneapolis. Bob Newhart tensely lounges in an armchair in
Gateway Park, gaze fixed on the couch next to him. He is, as
ever, bemused and befuddled. As a sculpture and a work of
public art, there’s a touch of irony here in the conception of the
empty sofa (unless you’re on it, acting out a long hidden desire
to tell your troubles to Bob). If you knew nothing of The Bob
Newhart Show, nothing of his perennial awkwardness, you
could still pick up something of that in this tableau, something of
that hints at the bewilderment of living. There’s something of
an existential metaphor in this empty arrangement; Bob is ready
to analyze, probe, delve into your deepest fears and emotions.
He’s ready, he’s set, pencil in hand…but there’s no one there.
The element of exposure is interesting as well, as the private
confines of the analyst’s world are plopped out onto a very
public thoroughfare. Bring out the dirty laundry to share with
all.
The representation of Mary Tyler Moore at Nicolett Mall in
Minneapolis also breaks out from a TV mold and into something
a little more. This sculpture was conceptualized and created by
Gwendolyn Gillen, an artist from Wisconsin. Her Mary Tyler
Moore is the figure of a young, exuberant woman of the city.
Gillen bases the figure on the show’s opening credits, but takes
some liberty in the positioning of MTM in the pivotal moment of
tossing her hat in the air, a gesture reminiscent of graduation
ceremonies with caps cast airborne. The expressive qualities
of the figure go beyond the identity of a sitcom character and
become a representation of the independent woman of the
city. In the cases of Moore and Newhart, there is some
substance beneath the surface that can rescue these figures
from being schlocky objects crowding the city landscape.
So in the case of Milwaukee’s “bronze Fonze,” it will be in the
hands of the project’s selected artist to transform a character
whose mannerisms and words formed a large part of his identity
as Mr. Cool into something that goes beyond the TV character.
Would the trademark hand signal, Fonzie’s thumb up in the air,
be misconstrued as a monument to a greaser thumbing a ride?
And how does one visualize the vocalization, “aaaayyyy…”?
And more importantly, what can the figure of Fonzie represent
for the city? According to a promotional powerpoint by VISIT
Milwaukee, there may be a motorcycle included in the project,
which could add relevancy points in terms of fitting in with the
identity of Real Milwaukee. But, can the inherent kitschyness of
the Fonzie character be transcended through artistic
expression? Or will he simply be an object, a thing taking up
space for which plenty of money has been paid?
The problems of artistic legitimacy surround another notable
work in Milwaukee, this one with quite a different artistic
pedigree. This past spring in Susceptible to Images, editor and
co-publisher Debra Brehmer wrote about the bronze copy of
Michelanglo’s Pietà in the collection of the Haggerty Museum of
Art on the Marquette University campus. Despite the fact that
this is a direct cast from the original, it still is not universally
accorded validation and acceptance as a work of art. For
some, this is just a big, heavy lump occupying a whole lot of
valuable real estate in the gallery space. If qualms about merit
and substance surround even this work, then what of the Fonze
and the potential for attaining respect as public art?
Even more importantly, questions of relevance must be
considered. In fifty years, will we have any clue who this guy is
and why he’s there in the first place? If pop culture awareness
is what gives his character credibility and recognition, then by
the time Friends and Seinfeld become the golden oldies, the
proverbial TV Guide will close on Happy Days as part of the
collective mass media mind.
Looking for an explanation for this curious figure, will future
generations mistake the leather-clad one for a famous
Milwaukee personage? Is he a civil rights leader, a progressive
politician, is he possibly Mr. Harley or Davidson? Unless there
are qualities in the final piece that can transcend the mere
representation of a fictional character, and impart something of
a spirit or idea that has meaningful substance, decades from
now when kids are wondering who Mr. Dude is, we’ll have little
more to say than sorry, he’s just a sitcom stereotype.
By Katherine Murrell
What inspires people to visit cities? Why does someplace like
Minneapolis tend to have more tourist trade than, say for
example, Boise? A simple enough question, sure. But the
general trend is that large, lively, vibrant places with lots of
exciting things to do and see tend to get more attention. Arts
and cultural often factor significantly in the development of a
place’s reputation as a destination. Public spaces and
monuments play a role here, especially as famous locations in
any given metro area may act as a magnet for sightseeing out-
of-towners. It’s an interesting phenomenon, how we are drawn
to places that are recognizable among the unfamiliar. Among
the tourist set, there is frequently a compulsion to document the
apex of the event by photographing oneself in/at/experiencing
said landmark. It’s almost like it’s proof that we were there.
Such is the draw of the tourist attraction.
VISIT Milwaukee, a local promoter of tourism in Milwaukee, has
contrived a new destination in the form of a proposed bronze
sculpture of Arthur Fonzarelli. Yes, the name rings a bell…is
he a significant personage in the history of Milwaukee, or a
leader in our Italian community? Ah, nope…. he was the “wise
but cool guy” from the 70s TV series, Happy Days.
For a recap of the numerous writings and commentaries on the
project so far, see the JSOnline article by Tom Daykin, Mary
Louise Schumacher’s post on her Art City blog, Molly Snyder
Edler’s article at OnMilwaukee.com, Artsy Schmartsy at MKE
and Michael Horne’s Milwaukee World blog.
In short, the idea has roots in the TV Land Landmarks project
where famous characters from old shows were erected in the
city of their fictional settings. Ralph Kramden hangs out in front
of a Port Authority bus terminal in NYC, Samantha of Bewitched
fame perches on a crescent moon in Salem, Mass. So though
this is not a project affiliated with TV Land, the idea follows suit
with the Fonze and his Milwaukee connection.
There is plenty to be said about unreality here. Fonzie is a
fictional person from a Hollywood show produced in the 1970s
that takes a nostalgic and whitewashed look back at the 1950s.
The show is set in Milwaukee, but could as easily be
Cleveland. Ideas that there should be any authentic
connection or history associated with the “bronze Fonze” seem
to be moot. He’s meant to act as a prop for tourist photos. You
in Milwaukee with the Fonze. Ayyyyy…
So how have some of these other projects fared? In our near
environs we can look to sculptures that were part of the TV
Land project: Bob Newhart in Chicago and Mary Tyler Moore in
Minneapolis. Bob Newhart tensely lounges in an armchair in
Gateway Park, gaze fixed on the couch next to him. He is, as
ever, bemused and befuddled. As a sculpture and a work of
public art, there’s a touch of irony here in the conception of the
empty sofa (unless you’re on it, acting out a long hidden desire
to tell your troubles to Bob). If you knew nothing of The Bob
Newhart Show, nothing of his perennial awkwardness, you
could still pick up something of that in this tableau, something of
that hints at the bewilderment of living. There’s something of
an existential metaphor in this empty arrangement; Bob is ready
to analyze, probe, delve into your deepest fears and emotions.
He’s ready, he’s set, pencil in hand…but there’s no one there.
The element of exposure is interesting as well, as the private
confines of the analyst’s world are plopped out onto a very
public thoroughfare. Bring out the dirty laundry to share with
all.
The representation of Mary Tyler Moore at Nicolett Mall in
Minneapolis also breaks out from a TV mold and into something
a little more. This sculpture was conceptualized and created by
Gwendolyn Gillen, an artist from Wisconsin. Her Mary Tyler
Moore is the figure of a young, exuberant woman of the city.
Gillen bases the figure on the show’s opening credits, but takes
some liberty in the positioning of MTM in the pivotal moment of
tossing her hat in the air, a gesture reminiscent of graduation
ceremonies with caps cast airborne. The expressive qualities
of the figure go beyond the identity of a sitcom character and
become a representation of the independent woman of the
city. In the cases of Moore and Newhart, there is some
substance beneath the surface that can rescue these figures
from being schlocky objects crowding the city landscape.
So in the case of Milwaukee’s “bronze Fonze,” it will be in the
hands of the project’s selected artist to transform a character
whose mannerisms and words formed a large part of his identity
as Mr. Cool into something that goes beyond the TV character.
Would the trademark hand signal, Fonzie’s thumb up in the air,
be misconstrued as a monument to a greaser thumbing a ride?
And how does one visualize the vocalization, “aaaayyyy…”?
And more importantly, what can the figure of Fonzie represent
for the city? According to a promotional powerpoint by VISIT
Milwaukee, there may be a motorcycle included in the project,
which could add relevancy points in terms of fitting in with the
identity of Real Milwaukee. But, can the inherent kitschyness of
the Fonzie character be transcended through artistic
expression? Or will he simply be an object, a thing taking up
space for which plenty of money has been paid?
The problems of artistic legitimacy surround another notable
work in Milwaukee, this one with quite a different artistic
pedigree. This past spring in Susceptible to Images, editor and
co-publisher Debra Brehmer wrote about the bronze copy of
Michelanglo’s Pietà in the collection of the Haggerty Museum of
Art on the Marquette University campus. Despite the fact that
this is a direct cast from the original, it still is not universally
accorded validation and acceptance as a work of art. For
some, this is just a big, heavy lump occupying a whole lot of
valuable real estate in the gallery space. If qualms about merit
and substance surround even this work, then what of the Fonze
and the potential for attaining respect as public art?
Even more importantly, questions of relevance must be
considered. In fifty years, will we have any clue who this guy is
and why he’s there in the first place? If pop culture awareness
is what gives his character credibility and recognition, then by
the time Friends and Seinfeld become the golden oldies, the
proverbial TV Guide will close on Happy Days as part of the
collective mass media mind.
Looking for an explanation for this curious figure, will future
generations mistake the leather-clad one for a famous
Milwaukee personage? Is he a civil rights leader, a progressive
politician, is he possibly Mr. Harley or Davidson? Unless there
are qualities in the final piece that can transcend the mere
representation of a fictional character, and impart something of
a spirit or idea that has meaningful substance, decades from
now when kids are wondering who Mr. Dude is, we’ll have little
more to say than sorry, he’s just a sitcom stereotype.
Full Moon Edition No. 1 10.26.07
| Copyright 2007 Art History Chicks LLC |
| Actor Henry Winkler as The Fonze. Image source: http://en.wikipedia.org/wiki/Fonzie |
| Bob Newhart sculpture in Chicago Image source: www.tvland.com/landmarks |
| Samantha from Bewitched Image source: www.tvland.com/landmarks |
| Mary Tyler Moore sculpture in Minneapolis. Image source: www.tvland.com/landmarks |
| SEARCH THIS SITE |
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This month in STI:
Inside and Outside:
Marketing and the
Martín Ramírez
Exhibition at the
Milwaukee Art Museum
Wifredo Lam in North
America at the
Haggerty Museum of
Art
Bronze, Fonze, and
Folly?
Jason S. Yi: Yellow
Mountain and Other
Places at Dean
Jensen Gallery
Sketches: short take
on current exhibitions;
The Nohl Fellowship
Awards
fabrics interseason,
surface: tapisserie no.
1
Cover shot
Contact us
Inside and Outside:
Marketing and the
Martín Ramírez
Exhibition at the
Milwaukee Art Museum
Wifredo Lam in North
America at the
Haggerty Museum of
Art
Bronze, Fonze, and
Folly?
Jason S. Yi: Yellow
Mountain and Other
Places at Dean
Jensen Gallery
Sketches: short take
on current exhibitions;
The Nohl Fellowship
Awards
fabrics interseason,
surface: tapisserie no.
1
Cover shot
Contact us
Sign up for email updates
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READERS WRITE IN...
10/31/07
A bronze Fonze in the heart of downtown is pure folly!
Visit Milwaukee ought to know better than spend their time and
money on promoting a bronze sculpture of a sitcom hero from
decades ago. There are better ways to promote our fair city.
I thought Milwaukee's blue collar image had been rejected, at
least by Scott Walker, when the "Blue Shirt" airport project died.
Who will give money for a bronze sculpture that will be sited in
the heart of downtown without knowing which artists are being
considered? Who is making these decisions? I thought there
was a process for vetting public art established by the
Milwaukee Arts Board!
Diane Buck
READERS WRITE IN...
10/31/07
A bronze Fonze in the heart of downtown is pure folly!
Visit Milwaukee ought to know better than spend their time and
money on promoting a bronze sculpture of a sitcom hero from
decades ago. There are better ways to promote our fair city.
I thought Milwaukee's blue collar image had been rejected, at
least by Scott Walker, when the "Blue Shirt" airport project died.
Who will give money for a bronze sculpture that will be sited in
the heart of downtown without knowing which artists are being
considered? Who is making these decisions? I thought there
was a process for vetting public art established by the
Milwaukee Arts Board!
Diane Buck