Thank You, MAM -- Milwaukee Art Museum Mounts "Color Rush" Photography Exhibition

On a chilly night in southeast Wisconsin, tonight the Milwaukee Art Museum provided a warm welcome to guests who enjoyed free Thursday admission to the new exhibition "Color Rush: 75 Years of Color Photography in America."

The exhibition is a preamble to MAM's 125th Anniversary celebration set for the warmer days of spring.

"Color Rush" introduces visitors to the earliest uses of color photography, starting in the early 1900s and leap-frogging a few decades at a time. The first main exhibition room features the early 1930s photos crafted as feature magazine covers and advertising. A cover for a summer 1932 edition of Vogue popped from the walls (the closest image and timing for an Olympic-themed moment as the cover debuted when the Los Angeles 1932 Olympic Games launched).

My docent host (girlfriend's mother) also pointed out the vivid holiday cookie visuals shown enlarged beside the eventual use of the photograph as part of a lifestyle magazine advertisement. The exhibition has a lot of these -- fine examples, mind you -- juxtaposed with early "hard news" color photos of the Hindenburg disaster. Impressive! Another sports-related magazine cover showcased a figure skating couple in flight above an unseen ice rink. Slick!

As the exhibition advanced to the post-war years and into the 1970s, with a few sets of color slides and some Kodak history, I got that funny feeling that's hit me at other photo exhibitions. Driving home and talking about the exhibition, it hit me again, with the questions I've asked before: Why do museums decide that "art" photography requires the photographers' subjects to be destitute, drug users, or trashy? Why must "museum quality" photography appear at the dregs end, or the Architectural Digest perfect end, of the photo spectrum?

The middle ground in this exhibition featured hotel interiors, urban landscapes and other (for this blogger) ho-hum images.

I guess this is my way of saying that after the High Museum of Art exhibition "Up & Down Peachtree" (photos by Martin Parr), recent Dorothea Lange images in the news, and MAM's exhibition, I'm now tired of photos of the poor, or snapshots of "the ordinary" appearing as "art." What sealed it for me was the "behind the curtain" parental advisory slide show of brothel employees, bodybuilders and dope heads in various stages of undress. What does this have to do with the color photography process?

Fortunately, "Color Rush" includes some dramatic and (never seen by my eyes until tonight) panoramic landscapes by Ansel Adams. It was also fun to discover the surprising pumpkin patch shopper while a three-story house burned in the background in a 1970s color photo by Joel Sternfeld.

Though going to the exhibition I had no specific hopes nor expectations, it was a moderate let down that more iconic color images, or perhaps early color images from cinema, did not make the cut. In that drive home conversation, I found myself asking "what about Annie Leibovitz's landscapes and portraits?" and "what about modern color photography in National Geographic as influenced by early color images in the same or similar publications?"

Is the exhibition "Color Rush" worth a look-see? Absolutely! And the information shared in the exhibition is something I will have to keep processing to see what develops.

Photos via MAM, as well as Vogue UK and www.kpraslowicz.com

Milwaukee Art Museum Gets It Wright

Frank Lloyd Wright's good works are part of my memory since teenage years, but a 1994 exhibit at the Museum of Modern Art marked the first time the architect's fame and accomplishments "stuck" with me.


Wright's city plan for Baghdad intrigued me for its inclusion of an Olympic stadium in Iraq, though I cannot confirm whether the New York exhibit showcased that Wright design, or if the Olympic/Wright connection came to my attention later.


In the 17 years since experiencing that MOMA exhibit, however, each visit to a Wright destination either earned comparison to the Manhattan display, which set a very high bar for architectural exhibitions, or brought back memory of lessons learned in that temporary assembly of Wright drawings, models and materials.


Now showing at the Milwaukee Art Museum, the new exhibition "Frank Lloyd Wright: Organic Architecture for the 21st Century" gets it right, and sets another high bar for future exhibitions.


Students, fans or anyone curious about Frank Lloyd Wright will find the MAM show enjoyable, entertaining and informative, including a broad overview of Wright's career (covering most of the basics and big milestones in his work) and many surprises for those more familiar with Wright projects across the U.S. (the exhibit focuses on stateside projects).


Thanks are in order for the MAM media relations team, which arranged tickets for this blogger and a guest to visit the museum on March 5.


"Frank Lloyd Wright: Organic Architecture for the 21st Century" begins with a large room filled with enormous architectural models created at Taliesin or Taliesin West, Wright's homes and working studios in Spring Green, Wis., and Scottsdale, Ariz., respectively.


From the towering model of "The Illinois" -- a soaring design for a mile-high skyscraper in Chicago -- to panoramic three-dimensional displays of "Broadacre City" and "The Living City," Wright's visionary take on the possibilities for architecture on a citywide level, attendees are treated to handmade models and hand-drawn ideas that mostly lived only in Wright's mind, and on rare sheets of drafting paper. Only one or two designs in the room -- the Price Tower built in Bartlesville, Okla., and a synagogue in Pennsylvania -- made it from dream or proposal stage to construction.


The most unusual and surprising (and unbuilt) designs of the exhibition include rare, full-color renderings for the Rogers Lacy Hotel in Dallas (sigh for what could have been ...) and the Gordon Strong Automobile Objective, a scenic overlook and destination (rooftop for a massive planetarium) intended for Sugarloaf Mountain, Md., which shares spiral design elements that later appeared in the Guggenheim Museum's spiral atrium.


Following what I describe as the futuristic/unbuilt "room of dreams," the exhibit looks at a range of residential projects and designs for families. Attendees are treated to views of Usonian, Cloverleaf Quadruple and other private residences, showcased around several elements from Taliesin. My girlfriend and I tuned into some rare home movies from Wright's home before studying the designs for Falling Water, which is on our target list for the next Wright experience to share.


The best surprise in the "residential" sections of the exhibition: Large renderings for the unbuilt Raul Bailleres House, a beachfront property that would have included tiered infinity pools and waterfalls in Acapulco, Mexico, displayed beside a spectacular "Seacliff" house intended for waterfront property near San Francisco.


We later learned that the Bailleres House, with many updates and redesigns for other clients, now stands in Maui, Hawaii, as the "Marilyn's House" built in the 1980s (my girlfriend and I visited that beautiful site, which overlooks Haleakala Mountain, last year).


A cottage designed for bestselling author Ayn Rand was a nice surprise in the exhibition. Another delight was learning the back story related to the drawing.


We also enjoyed several drawings of the Frederick C. Bogk House, a Milwaukee home built on Terrace Drive near Lake Michigan. We delighted in driving from MAM to this residence, only a mile from the museum, on the same afternoon, and if time permits, we suggest any MAM visitors also make time to experience the Wright-designed Greek Orthodox Church in suburban Wauwatosa, Wis. (spectacular).


The Greek temple is one of a handful of iconic places of worship highlighted in the exhibition. The standout, of course, is Unity Temple of Oak Park, Ill., and MAM installed a shadow box-style model of the temple sanctuary.


Numerous office and government buildings -- some built, some only proposed -- come to life in more large illustrations and models, such as a large model of the S.C. Johnson headquarters of Racine, Wis. We enjoyed learning about Wright designs for Marin County, Calif., and the Lenkurt Electric Co.


There were only a handful of "holes" in the exhibition. We noted that both the Guggenheim Museum and Ennis House noticeably missing. I suspect the Guggenheim has its own stronghold on Wright artifacts, which the Manhattan institution may or may not be willing to share. In the case of Ennis House, and nearby Hollyhock House (also in Los Angeles, and also missing from the MAM exhibition), maybe its imperilled status factored for MAM exclusion.


But then, there are hundreds of Wright structures from which to choose, and MAM covered the right bases with great detail. Anyone can read more in the Frank Lloyd Wright Field Guide or other publications available in the exhibition gift shop.


For those who visit MAM, be sure to enjoy the lakefront dining experience at Cafe Calatrava in the lower level -- the cauliflower soup is magnificent, and the architecture-inspired menu (honoring the Wright show as much as the famed Spanish architect who created MAM's expansion 10 years ago) is great for fueling or refueling for a day at the museum.


Illustrations via MAM:
-- Lenkurt Electric Company, San Carlos, CA, 1955, © 2010 Frank Lloyd Wright Foundation, Scottsdale, AZ
-- Rogers Lacy Hotel, Dallas, TX, 1946, © 2010 Frank Lloyd Wright Foundation, Scottsdale, AZ