The State of…
Art Criticism in Milwaukee
In this essay, Milwaukee photographer and writer Tom
Bamberger argues that the city’s only daily newspaper does not
cover the visual arts adequately. His essay is being published
here as a launching ground for a larger discussion regarding
the role of art criticism. What can and should an art review
ideally accomplish? How important is the role of criticism in an
art community? How could the Journal Sentinel, Susceptible to
Images, the Shepherd Express and other publications elevate
the standard and perhaps even work together to create more
dialog and analysis regarding the visual arts? Let us know what
you think.
By Tom Bamberger
It was a big deal when Jim Auer, the Art Critic of the Milwaukee
Journal Sentinel, died in 2004. He been writing promiscuously
about the visual arts in Milwaukee since 1972. Auer had a
quaint gentlemanly style and looked on the positive side of
things. Writing came easy for him, some would say too easy,
but he was an advocate for the visual arts within the
newspaper. He reviewed at least one exhibition, if not more,
each week. Auer covered the waterfront.
Today there is no "art critic" at the paper as there is for food,
music, books or theater. Auer's beat has been taken over by
Mary Louise Schumacher. On the masthead she is called a
"general assignment reporter". And that is pretty much what
she does -- lots of human interest stories -- bits, pieces, and
musings. But no art reviews.
The journal website lists recent 10 articles under the topic
"latest book reviews"(http://www.jsonline.com/index/index.aspx?
id=131). Performing Arts lists seven review articles (http://www.
jsonline.com/index/index.aspx?id=129). Music and nightlife has
five local concert reviews (http://www.jsonline.com/index/index.
aspx?id=127). Movies has more than a dozen.
Now on to the visual arts.... Maybe one "review" since the
middle of August. That's right, just one. But that one, about the
Ramirez exhibition at the Milwaukee Art Museum, is not really a
review at all. It's an informative essay of what other people have
said about the artist. (http://www.jsonline.com/story/index.aspx?
id=671143)
Even the arts writer, Mary Louise Shumacher, acknowledges,
that recapitulating existing knowledge is not enough.
"As much as Ramírez's narrative can enrich our experience of
his work, it has done little, at least so far, to uncover actual
meaning. That will require more research."
Art historians do research. Art critics tell us what they think and
feel. They share with us part of their humanity. They should be
hungry for art the way the restaurant critic is hungry for food,
the way Pauline Kael was hungry for cinema.
The subhead of the piece says, "Exhibit seeks the
understanding that eluded artist Ramírez in life". But we don't
go to an art museum to "understand" art any more than we go
to Packer game to "understand" football. We go to experience
something, to be moved in uncanny ways, surprised, delighted,
and excited. Understanding is fine but art is not finally
"understood" any more than we are "understood". Life and art
operates on the margins with all the complexity, contradictions
and sublime pleasures that cannot be reduced to a term paper.
Artist don't want to be understood. They want to be seen and
loved. Art needs us to care enough to exclaim and complain.
Never go to a great restaurant on full stomach, never go to an
art exhibition full of "understanding".
So there is a drama when another human, like us, has an
experience and writes about it. The critic should be the first and
best audience for art. They have high hopes, brutal
disappointments, and all of the vulnerabilities of anyone looking
for love, to love art. You have to risk something to get
something from art.
The Milwaukee Journal Sentinel should get into the game, get
one-on-one with the art. Imagine if movie reviews were written
the way Schumacher writes about art. What would the blurbs be
like on Rotten Tomatoes? Reviews should be urgent, cause
you to act, to go have an experience. Then you come home
and sometimes realize that the reviewer was an idiot. Writing
can be dangerous.
Try to find one notable blurb in this review. Here is my pick.
"Ramírez was not an artist because of his probable debilities . .
. His artistic strengths grew in spite of them." Not bad, but that
quoted by Schumacher and was written by Robert Storr from
the essay in the catalogue.
The art world in Milwaukee may or may not be smaller than
music or the performing arts. But surely the number of worthy
art events is not zero. We need art reviews to be here now with
the art, create an historical record and keep exhibition
presenters honest. As it stands in Milwaukee, we have
someone at the newspaper to complain about stale bread, but
not stale art. Critics don't have the last word, but they start a
conversation that is crucial for the artist, museums, galleries,
and the community.
Art Criticism in Milwaukee
In this essay, Milwaukee photographer and writer Tom
Bamberger argues that the city’s only daily newspaper does not
cover the visual arts adequately. His essay is being published
here as a launching ground for a larger discussion regarding
the role of art criticism. What can and should an art review
ideally accomplish? How important is the role of criticism in an
art community? How could the Journal Sentinel, Susceptible to
Images, the Shepherd Express and other publications elevate
the standard and perhaps even work together to create more
dialog and analysis regarding the visual arts? Let us know what
you think.
By Tom Bamberger
It was a big deal when Jim Auer, the Art Critic of the Milwaukee
Journal Sentinel, died in 2004. He been writing promiscuously
about the visual arts in Milwaukee since 1972. Auer had a
quaint gentlemanly style and looked on the positive side of
things. Writing came easy for him, some would say too easy,
but he was an advocate for the visual arts within the
newspaper. He reviewed at least one exhibition, if not more,
each week. Auer covered the waterfront.
Today there is no "art critic" at the paper as there is for food,
music, books or theater. Auer's beat has been taken over by
Mary Louise Schumacher. On the masthead she is called a
"general assignment reporter". And that is pretty much what
she does -- lots of human interest stories -- bits, pieces, and
musings. But no art reviews.
The journal website lists recent 10 articles under the topic
"latest book reviews"(http://www.jsonline.com/index/index.aspx?
id=131). Performing Arts lists seven review articles (http://www.
jsonline.com/index/index.aspx?id=129). Music and nightlife has
five local concert reviews (http://www.jsonline.com/index/index.
aspx?id=127). Movies has more than a dozen.
Now on to the visual arts.... Maybe one "review" since the
middle of August. That's right, just one. But that one, about the
Ramirez exhibition at the Milwaukee Art Museum, is not really a
review at all. It's an informative essay of what other people have
said about the artist. (http://www.jsonline.com/story/index.aspx?
id=671143)
Even the arts writer, Mary Louise Shumacher, acknowledges,
that recapitulating existing knowledge is not enough.
"As much as Ramírez's narrative can enrich our experience of
his work, it has done little, at least so far, to uncover actual
meaning. That will require more research."
Art historians do research. Art critics tell us what they think and
feel. They share with us part of their humanity. They should be
hungry for art the way the restaurant critic is hungry for food,
the way Pauline Kael was hungry for cinema.
The subhead of the piece says, "Exhibit seeks the
understanding that eluded artist Ramírez in life". But we don't
go to an art museum to "understand" art any more than we go
to Packer game to "understand" football. We go to experience
something, to be moved in uncanny ways, surprised, delighted,
and excited. Understanding is fine but art is not finally
"understood" any more than we are "understood". Life and art
operates on the margins with all the complexity, contradictions
and sublime pleasures that cannot be reduced to a term paper.
Artist don't want to be understood. They want to be seen and
loved. Art needs us to care enough to exclaim and complain.
Never go to a great restaurant on full stomach, never go to an
art exhibition full of "understanding".
So there is a drama when another human, like us, has an
experience and writes about it. The critic should be the first and
best audience for art. They have high hopes, brutal
disappointments, and all of the vulnerabilities of anyone looking
for love, to love art. You have to risk something to get
something from art.
The Milwaukee Journal Sentinel should get into the game, get
one-on-one with the art. Imagine if movie reviews were written
the way Schumacher writes about art. What would the blurbs be
like on Rotten Tomatoes? Reviews should be urgent, cause
you to act, to go have an experience. Then you come home
and sometimes realize that the reviewer was an idiot. Writing
can be dangerous.
Try to find one notable blurb in this review. Here is my pick.
"Ramírez was not an artist because of his probable debilities . .
. His artistic strengths grew in spite of them." Not bad, but that
quoted by Schumacher and was written by Robert Storr from
the essay in the catalogue.
The art world in Milwaukee may or may not be smaller than
music or the performing arts. But surely the number of worthy
art events is not zero. We need art reviews to be here now with
the art, create an historical record and keep exhibition
presenters honest. As it stands in Milwaukee, we have
someone at the newspaper to complain about stale bread, but
not stale art. Critics don't have the last word, but they start a
conversation that is crucial for the artist, museums, galleries,
and the community.
Full Moon Edition No. 2 11.24.07
| Copyright 2007 Art History Chicks LLC |
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This month in STI:
Dispassion and
Postures: The Nohl
Fellowship Awards
Photographs from the
Ends of the Earth
Sublime Spaces and
Visionary Worlds
The State of...Art
Criticism in Milwaukee
Follow-up to Bronze,
Fonze, and Folly?
Anna Kunz at Tory
Folliard Gallery
Cover shot
Contact us
Dispassion and
Postures: The Nohl
Fellowship Awards
Photographs from the
Ends of the Earth
Sublime Spaces and
Visionary Worlds
The State of...Art
Criticism in Milwaukee
Follow-up to Bronze,
Fonze, and Folly?
Anna Kunz at Tory
Folliard Gallery
Cover shot
Contact us
(scroll page up for article)
READERS WRITE IN...
11/29/07
Well, THANK YOU, Tom! While these sentiments are not new,
but ones that have been simmering within the art community
for quite some time, they have not been put forth until now in
such a direct and candid way. I have often wondered why
smaller communities have extensive coverage of art events
and exhibits, but in Milwaukee, the only visual arts receiving
coverage seem to be those exhibits that are already well
publicized: things such as the MAM exhibits, and artists
showing at Tory Folliard's and the Kohler Art Center. It does
seem that reviewers gravitate towards what is "safe".....those
artists who have already proven themselves by having a
reputation that extends beyond Milwaukee, and even
Wisconsin. Wouldn't it be great if the art critics (if they exist)
were hoping to discover artists and art right here in
Milwaukee? I have so often felt proud and even humbled by
the high level of art I see being produced by my peers. There
is a wealth of quality art here in !Milwaukee.....but we as the
artists need to spend much of our time making art. Is it asking
so much of reviewers and critics to do some digging and
discover and promote the treasures that are not even buried,
but within easy reach?
- Janet Roberts
11/29/07
I thoroughly agree with Tom Bamberger that there is a crying
need for art criticism in Milwaukee. This website is the very
best we have in Milwaukee. I tell everyone who is interested in
art about Susceptible to Images.
The tough question is why doesn't the MJ value art criticism?
Yes, James Auer was a fluent writer, but a critic he wasn't! MLS
is definitely not Auer's replacement. Now Whitney Gould is
retired and I would bet the MJ doesn't replace her with another
architectural critic! Is the print media in this much trouble?
- Diane Buck
12/06/07
I had high hopes when Mary Louise Schumacher opened a
discussion (Art City, Nov. 16/07) by asking readers to comment
on "Where are all of the mature artists?" The comments turned
out to be mostly blowin' in the wind stuff, and seemed to be
primarily a feel good exchange between members of the
Wisconsin Painters & Sculptors organization. One particularly
embarrassing comment to MLS included, "If I ramble, I
apologize. I am an artist, not a writer." Other windy paragraphs
began with "First of all, I think your blog is wonderful..."
and yet others began blithering via, "I seek humble forgiveness
for yet another posting." In a transparent effort to make nice
with Ms. Schumacher, many of the comments missed the mark.
After all, arts reporter MLS is not The Wizard of Oz, so why is
she approached by artists down-on-their-knees? Tom
Bamberger is one of the few writers who writes unblinkingly.
He's neither humble, nor apologetic. He makes his living as an
artist and a writer. He's no Oz and he knows it.
- Judith Ann Moriarty
12/12/07
I used to be a member of a co-op gallery in town, and this
same point was debated through a series of e-mails among
some of us. Personally, I was always disappointed and
surprised that the media coverage we received was generally
no more than the press release that had been sent out - often
verbatim. Incidentally, we finally did get a REAL critical review
for one of our very last shows, and it wasn't pretty. The writer
actually took the time to physically look at the show and
respond to the work, rather than just regugitate a press
release. The review ran on this website, and I'd like to thank
STI for doing their job.
We need arts writers willing to hit the bricks and find talent, and
write about it from their own thoughful point of view. Take it to
task when neccessary, as long as its more about integrity than
bitterness. I'm also tired of human interest stories that are
more about the personalities in this arts scene, whether coarse
or charming, than about the art itself. This is what we need to
do to grow up, in my opinion.
- Chris Miller
12/13/07
In response to Judith Ann's statement, I am drawn into the
conversation...with some caution. She has chosen to select a
few comments by persons I know (including me) and say that
she found their statements "embarrassing". This is an opinion
not borne by all of us, and seems to arise from a more basic
difference in method and style of speaking.
There is direct bold confrontation, and there is a more
moderate approach, probably considered too amiable by the
more confrontational personality.
On a personal level I hope that our art writers, critics, whether
writing for the JS, the Shepherd, various respected blogs and
so forth, are open minded and wide ranging in knowledge...but
not without opinion. Naturally they will express themselves in
their own styles and habits.
In the course of time in any community there emerge persons
who come to be known as likely to be opinionated, to hold
grudges, and when offended to strike out in ways not always
so subtle. This may be by posting opinions or by other
actions, such as direct confrontation, by snubs, back biting and
repeating negative rumors.
These people might be perceived as influencing the ideas of
others, perhaps being self perceived taste makers, exerting
influence, and sometimes creating controversy for controversy
sake...(which may help increase some temporary greater
interest in the visual arts.) In many cases their opinions might
be very right, thoughtful and well reasoned. But because of
their visible histories one cannot be sure of their intentions.
Need we fear them? How influential and long lived are their
opinions anyway? Do observers usually take what they say
with the proverbial grain of salt?
Undoubtedly, some persons hope to avoid getting on the
wrong side of these people...but that is likely unavoidable when
differences of opinion and differences in style of expression
normally exist.
And who really knows what style of expression will garner more
response and affect action? Those who are a bit more
circumspect or nonconfrontational in statements, or those who
mince no words and fear not to offend?
Is the battleground to improve our area's arts coverage and
climate among artists and commentators, or is the battle front
in Mary Louise's editor's office and in the culture of the rich
and politically influential in our culture?
- Gary John Gresl
12/24/07
Without confrontation there is no dialogue, just more of the
same old same old smooze stuff.
- Stella Cretek
READERS WRITE IN...
11/29/07
Well, THANK YOU, Tom! While these sentiments are not new,
but ones that have been simmering within the art community
for quite some time, they have not been put forth until now in
such a direct and candid way. I have often wondered why
smaller communities have extensive coverage of art events
and exhibits, but in Milwaukee, the only visual arts receiving
coverage seem to be those exhibits that are already well
publicized: things such as the MAM exhibits, and artists
showing at Tory Folliard's and the Kohler Art Center. It does
seem that reviewers gravitate towards what is "safe".....those
artists who have already proven themselves by having a
reputation that extends beyond Milwaukee, and even
Wisconsin. Wouldn't it be great if the art critics (if they exist)
were hoping to discover artists and art right here in
Milwaukee? I have so often felt proud and even humbled by
the high level of art I see being produced by my peers. There
is a wealth of quality art here in !Milwaukee.....but we as the
artists need to spend much of our time making art. Is it asking
so much of reviewers and critics to do some digging and
discover and promote the treasures that are not even buried,
but within easy reach?
- Janet Roberts
11/29/07
I thoroughly agree with Tom Bamberger that there is a crying
need for art criticism in Milwaukee. This website is the very
best we have in Milwaukee. I tell everyone who is interested in
art about Susceptible to Images.
The tough question is why doesn't the MJ value art criticism?
Yes, James Auer was a fluent writer, but a critic he wasn't! MLS
is definitely not Auer's replacement. Now Whitney Gould is
retired and I would bet the MJ doesn't replace her with another
architectural critic! Is the print media in this much trouble?
- Diane Buck
12/06/07
I had high hopes when Mary Louise Schumacher opened a
discussion (Art City, Nov. 16/07) by asking readers to comment
on "Where are all of the mature artists?" The comments turned
out to be mostly blowin' in the wind stuff, and seemed to be
primarily a feel good exchange between members of the
Wisconsin Painters & Sculptors organization. One particularly
embarrassing comment to MLS included, "If I ramble, I
apologize. I am an artist, not a writer." Other windy paragraphs
began with "First of all, I think your blog is wonderful..."
and yet others began blithering via, "I seek humble forgiveness
for yet another posting." In a transparent effort to make nice
with Ms. Schumacher, many of the comments missed the mark.
After all, arts reporter MLS is not The Wizard of Oz, so why is
she approached by artists down-on-their-knees? Tom
Bamberger is one of the few writers who writes unblinkingly.
He's neither humble, nor apologetic. He makes his living as an
artist and a writer. He's no Oz and he knows it.
- Judith Ann Moriarty
12/12/07
I used to be a member of a co-op gallery in town, and this
same point was debated through a series of e-mails among
some of us. Personally, I was always disappointed and
surprised that the media coverage we received was generally
no more than the press release that had been sent out - often
verbatim. Incidentally, we finally did get a REAL critical review
for one of our very last shows, and it wasn't pretty. The writer
actually took the time to physically look at the show and
respond to the work, rather than just regugitate a press
release. The review ran on this website, and I'd like to thank
STI for doing their job.
We need arts writers willing to hit the bricks and find talent, and
write about it from their own thoughful point of view. Take it to
task when neccessary, as long as its more about integrity than
bitterness. I'm also tired of human interest stories that are
more about the personalities in this arts scene, whether coarse
or charming, than about the art itself. This is what we need to
do to grow up, in my opinion.
- Chris Miller
12/13/07
In response to Judith Ann's statement, I am drawn into the
conversation...with some caution. She has chosen to select a
few comments by persons I know (including me) and say that
she found their statements "embarrassing". This is an opinion
not borne by all of us, and seems to arise from a more basic
difference in method and style of speaking.
There is direct bold confrontation, and there is a more
moderate approach, probably considered too amiable by the
more confrontational personality.
On a personal level I hope that our art writers, critics, whether
writing for the JS, the Shepherd, various respected blogs and
so forth, are open minded and wide ranging in knowledge...but
not without opinion. Naturally they will express themselves in
their own styles and habits.
In the course of time in any community there emerge persons
who come to be known as likely to be opinionated, to hold
grudges, and when offended to strike out in ways not always
so subtle. This may be by posting opinions or by other
actions, such as direct confrontation, by snubs, back biting and
repeating negative rumors.
These people might be perceived as influencing the ideas of
others, perhaps being self perceived taste makers, exerting
influence, and sometimes creating controversy for controversy
sake...(which may help increase some temporary greater
interest in the visual arts.) In many cases their opinions might
be very right, thoughtful and well reasoned. But because of
their visible histories one cannot be sure of their intentions.
Need we fear them? How influential and long lived are their
opinions anyway? Do observers usually take what they say
with the proverbial grain of salt?
Undoubtedly, some persons hope to avoid getting on the
wrong side of these people...but that is likely unavoidable when
differences of opinion and differences in style of expression
normally exist.
And who really knows what style of expression will garner more
response and affect action? Those who are a bit more
circumspect or nonconfrontational in statements, or those who
mince no words and fear not to offend?
Is the battleground to improve our area's arts coverage and
climate among artists and commentators, or is the battle front
in Mary Louise's editor's office and in the culture of the rich
and politically influential in our culture?
- Gary John Gresl
12/24/07
Without confrontation there is no dialogue, just more of the
same old same old smooze stuff.
- Stella Cretek