Mounting the exhibit proved to be challenging, with the work of filmmakers constituting a majority of the gallery space. This increases the time necessary to view the show, since an hour or more may be needed to fully appreciate and benefit from the winners’ work.
The front gallery dedicates space to installations by established artists Shana McCaw/Brent Budsberg (joint recipients of the award) and Xav Leplae along with emerging artist Barbara J. Miner. The team effort by McCaw/Budsberg portrays “smallification,” miniaturizing in exacting details the vestiges of an antiquated clapboard farmhouse (Reaction) alongside a ceiling strung with tiny outmoded telephone poles (Ground). The tangled wires eventually twist in a heap on the floor only a few feet away from the toppled Midwestern homestead. Each installation looks at the structures, technology and ideals that increasingly challenge society.
Another wall in the front gallery displays Miner’s Anatomy of an Avenue photo essay, which encompasses 60 black-and-white C-prints. Miner’s photos record life on Milwaukee’s North Avenue, beginning at the lakefront and extending into suburban Pewaukee. This photographic array captures seasonal moments, ranging from two young girls in miniskirts standing at a summer nacho stand to a woman purchasing flowers in a greenhouse. These singular prints illustrate the diverse cultures stretching along one street, offering a glimpse into unique Milwaukee-area neighborhoods.
The gallery goes from light to darkness to view film work from emerging artists Tate Bunker, Bobby Ciraldo/Andrew Swant (joint recipients) and Frankie Latina, and established artist Iverson White. Bunker projects his 15-minute looped short feature film Starring Mickey Burgermeister on one wall. The film contains a narrative story without dialogue that documents an elderly roller skating star costumed in shimmering white satin. Bunker’s startling visuals contrast youth and aging through ethereal effects and magical realism. The proximity to the projection dramatically alters the viewer’s perception of and intimacy with Bunker’s neo-real characters.
The back room in Inova’s gallery houses a 24-seat movie theater where Latina and White alternate their films on 30-minute loops, also juxtaposing stylistic and experiential differences. Latina’s film Hack pieces together past footage to retell his autobiographical journey to filmmaking in a faux homage to himself. These interesting revelations attest to the determination necessary to succeed in this art form. White’s 40 years of expertise profoundly influence his film The Funeral. The color short plays on the tension in male-female relationships with a final redemptive note, a theme well worth waiting for.
The “Nohl Fund Fellowships” exhibition requires concentration: Take the time to contemplate the aforementioned artwork at a relaxed pace, in addition to viewing the work of Leplae and Ciraldo/Swant. This annual event serves a valuable role in the city’s artistic community, not only by showcasing several nationally acclaimed artists who otherwise would remain unfamiliar names in Milwaukee, but also by creating awareness of emerging artists. This exhibit underscores the Mary L. Nohl Foundation’s efforts to enhance art, as does the series of educational lectures featured in UWM’s Locally Grown: The Nohl Fellows,held on the UWM campus at various dates throughout the exhibit’s run, which ends Dec. 13.
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