Fee: This session is free and open to the public. Please RSVP at http://creative-capital.org/pages/infosessions or grants@creative-capital.org

Creative Capital Foundation will be leading an information session on their upcoming grant round at the Lynden Sculpture Garden. Lisa Dent, Director of Grants & Services at Creative Capital and a 2012 Nohl juror, will be present to answer questions regarding Creative Capital’s upcoming grant rounds. Creative Capital supports artists creating adventurous and imaginative work in the performing and visual arts, film/video, innovative literature, and emerging fields.

In 2014, Creative Capital will be considering proposals in Film/Video and Visual Arts. In 2015, the grant round will re-open for Emerging Fields, Innovative Literature and Performing Arts proposals. Far from a traditional funder, Creative Capital is committed to working in long-term partnership with the bold and groundbreaking artists that they fund by making a multi-year financial commitment while providing advisory and professional development services. Creative Capital has a special interest in projects that transcend discipline boundaries and reveal something new about the moment in which we live.

For in-depth information on the foundation, past recipients and current work, please visit www.creative-capital.org.

“I see Creative Capital taking great risks by investing in people's art projects and careers… The money is a huge help, but the services are irreplaceable and completely unique-genuinely and thoroughly transformative.”
 – Jake Mahaffey, 2005 Film/Video Grantee

A Workshop with Kelly Lahl

Register online now.

Fee: $85/ $75 members (all materials included)

Registration: Space is limited; advance registration required. If you prefer not to pay online, download a registration form here. You will receive additional information once you register. We're offering this workshop again in December. To register for that session, click here.

This daylong workshop will explore easy and artful ways to apply dye to scarves. From simple techniques such as tie-dyeing, resist and salt, to interesting mark-making techniques, we will modernize this ancient art form. We will look at examples of mid-century textile designers and we’ll also be inspired by the wonderful art and nature surrounding us at Lynden.

Each student will create three wearable and uniquely painted scarves. No experience required, and all materials supplied. Remember: using dyes can be messy. We'll supply you with an apron, but please wear clothes that you don't mind getting stained.

Bring a bag lunch and beverages and dress for the outdoors. We’ll be making use of Lynden’s 40 beautiful acres during our breaks, weather permitting.

About Kelly Lahl

Kelly Lahl is a multi-faceted print and surface designer working from her studio in Milwaukee, WI. She has recently taken to putting pigment down on silk, and has been experimenting with alternative approaches to surface design. She's a colorist and draws inspiration from the likes of Vera Neumann and various mid-century modernist designers and painters.

   

Free to members or with admission to the sculpture garden.

Yevgeniya Kaganovich and her student assistants will take up residence in the studio all afternoon to make the next “planting” of grow, Kaganovich’s durational installation. grow is a system of interconnected plant-like forms simulating a self-propagating organism in multiple stages of development. Created from a singular material, recycled plastic bags, the system grows over time, its growth rate determined by the number of bags accumulated in our official recycling bin. Drop in to watch or participate as Kaganovich fuses the layers of plastic to create a surface similar to leather or skin, molds the skin into plant-like volumes, stuffs the volumes with more bags, and connects the forms with plastic bag “thread.” Tasks include cutting sheets and strips; fusing sheets and tubes; sewing bulb forms and connecting them to bases; crocheting tubes and necks; stuffing stalks; and assembling the plants.

Photo: Kendall Reeves, Spectrum Studio.

Admission: $35/$30 Lynden Sculpture Garden/Historic Milwaukee Incorporated members – includes an autographed copy of A Home of Her Own, refreshments by MKELocalicious, and admission to the sculpture garden (come early and stroll!). Hiller’s other books will be available for purchase.

Combination rate for those attending the talk on October 16 and the Finishing Techniques workshop on October 17: $100/$90 Lynden Sculpture Garden/Historic Milwaukee Incorporated members

Register online now.

Margy Stratton, founder and executive producer of Milwaukee Reads is back with year three of her series featuring writers of particular interest to women. We are joined this year by series sponsor Bronze Optical and treats sponsor MKELocalicious.

For our first event of the 2013-2014 season, we join Historic Milwaukee in welcoming Nancy Hiller for an illustrated presentation and, on Thursday, a hands-on workshop on turn-of-the-century finishing techniques.

For Nancy Hiller, restoration can be a self-revelatory process: we learn as much about what we’re made of as we do about the structure on which we’re working, and we ourselves emerge transformed. She has observed that many of us, while restoring our home, form a relationship with the place that can rival the intimacy and satisfactions of relationships with human partners. Hiller traces her admiration for old houses to her teenage years in England, where she helped her mother and stepfather rehabilitate a couple of turn-of-the-century rowhouses. A designer-builder of custom furniture and cabinetry for historic houses, Hiller is the author of the award-winning book A Home of Her Own (2011), a collection of stories about women who have found a compelling kind of partnership in homes they have restored. The book is lavishly illustrated with photographs by Kendall Reeves. Patricia Poore, longtime editor of Old-House Journal and founder/editor of Old-House Interiors, wrote the book’s foreword, and the late Jane Powell, author of Bungalow Kitchens along with five other books related to restoration, appears in a chapter about her love affair with her “Bunga-Mansion.”

About Nancy Hiller
Nancy R. Hiller is a professional maker of custom furniture and cabinetry who specializes in work for old houses. Hiller earned a City & Guilds of London Certificate in Furniture Craft in 1980 after dropping out of Cambridge University. Following several years of employment in custom woodworking shops in England and the U.S., she returned to academe at Indiana University-Bloomington, where she earned a graduate degree in Religious Studies with a concentration in ethics. She opened NR Hiller Design in 1995. Hiller contributes to publications such as Fine Woodworking, Fine Homebuilding, and Old-House Interiors. She has authored two books, The Hoosier Cabinet in Kitchen History and A Home of Her Own, and is the editor of the soon-to-be published volume Historic Preservation in Indiana: Essays from the Field. Examples of Hiller's work may be found at www.nrhillerdesign.com.

Register online now.

Our next Women's Speaker Series event is with Melanie Benjamin, author of The Aviator's Wife. For more information, click here.

       

Fee: $75/$70 Lynden Sculpture Garden/Historic Milwaukee Incorporated members

Combination rate for those attending the workshop and the talk on October 16: $100/$90 Lynden Sculpture Garden/Historic Milwaukee Incorporated members

Register online now.

Nancy Hiller, a designer-builder of custom furniture and cabinetry for historic houses and author of the award-winning book A Home of Her Own (2011), offers a hands-on workshop featuring two versatile finishing techniques: a shellac-type finish for wood and milk paint. You will learn to make new furniture, cabinetry, and interior trim match original woodwork from 1895 or 1913 using simple materials and techniques, all by hand. As a bonus, learn to mix, apply, and topcoat milk paint, the original green finish, to achieve a variety of effects.

About Nancy Hiller
Nancy R. Hiller is a professional maker of custom furniture and cabinetry who specializes in work for old houses. Hiller earned a City & Guilds of London Certificate in Furniture Craft in 1980 after dropping out of Cambridge University. Following several years of employment in custom woodworking shops in England and the U.S., she returned to academe at Indiana University-Bloomington, where she earned a graduate degree in Religious Studies with a concentration in ethics. She opened NR Hiller Design in 1995. Hiller contributes to publications such as Fine Woodworking, Fine Homebuilding, and Old-House Interiors. She has authored two books, The Hoosier Cabinet in Kitchen History and A Home of Her Own, and is the editor of the soon-to-be published volume Historic Preservation in Indiana: Essays from the Field. Examples of Hiller's work may be found at www.nrhillerdesign.com.

Register online now.

       

   

Free to members or with admission to the sculpture garden.

Yevgeniya Kaganovich and her student assistants will take up residence in the studio all afternoon to make the next “planting” of grow, Kaganovich’s durational installation. grow is a system of interconnected plant-like forms simulating a self-propagating organism in multiple stages of development. Created from a singular material, recycled plastic bags, the system grows over time, its growth rate determined by the number of bags accumulated in our official recycling bin. Drop in to watch or participate as Kaganovich fuses the layers of plastic to create a surface similar to leather or skin, molds the skin into plant-like volumes, stuffs the volumes with more bags, and connects the forms with plastic bag “thread.” Tasks include cutting sheets and strips; fusing sheets and tubes; sewing bulb forms and connecting them to bases; crocheting tubes and necks; stuffing stalks; and assembling the plants.

   

Free to members or with admission to the sculpture garden.

Yevgeniya Kaganovich and her student assistants will take up residence in the studio all afternoon to make the next “planting” of grow, Kaganovich’s durational installation. grow is a system of interconnected plant-like forms simulating a self-propagating organism in multiple stages of development. Created from a singular material, recycled plastic bags, the system grows over time, its growth rate determined by the number of bags accumulated in our official recycling bin. Drop in to watch or participate as Kaganovich fuses the layers of plastic to create a surface similar to leather or skin, molds the skin into plant-like volumes, stuffs the volumes with more bags, and connects the forms with plastic bag “thread.” Tasks include cutting sheets and strips; fusing sheets and tubes; sewing bulb forms and connecting them to bases; crocheting tubes and necks; stuffing stalks; and assembling the plants.

Presented in collaboration with Woodland Pattern Book Center.
Fee: $300/$275 for members of Lynden or Woodland Pattern (one discount only)

Lynden Sculpture Garden and the Woodland Pattern Book Center offer a weeklong-residency at Lynden with poets and writers-in-residence Lytle Shaw and Ed Friedman. In addition to the workshop, the writers will offer a reading at Woodland Pattern on June 2 at 7 pm. The workshop will culminate in a reading and reception at Lynden on Friday, June 7 at 7 pm.

Siting, Placement, and Flow is a writing workshop that will utilize the Lynden Sculpture Garden, as experienced from two vantages.

One
Most outdoor modern sculpture like that at Lynden at once casts attention to its siting, its placement in and interaction with a specific environment, and also displaces viewers from that environment through the associations evoked by its materials: specialized welding, architectural structures, the worlds of heavy industry and construction. This dual address, however, is not unique to sculpture: poetry, too, might be characterized as a constant oscillation between its gestures of pointing at specific things, and its inescapable processes of abstraction—its evocation of cultural, historical, linguistic associations that cannot be neatly contained in a single space.

Though only 40 or so years old, the language of mid-century abstract sculpture can feel as remote to us today as that of Egyptian hieroglyphics. This workshop will seek to convert our distance from sculptural modernism into an asset, inviting writers to reinvent its uses in the present as the point of departure for generating serial poetry.

What does such sculpture want? What might we want from it? How might we go about exacting it?

Two
In a sculpture garden, there are high-priority—usually high-density—forms set into and creating a wider ambience of thought and potential experience. Such elements as landscape, lighting, weather, and human occupancy suggest both open opportunities and constraints. In this workshop we’ll be writing works in poetry and prose that exist in the context of other works. We’ll be working in forms, some of which are established in advance of writing and others that evolve conceptually as we go. We’ll experiment with some very short, minimal forms and how they can be combined into larger works. We’ll collaborate and pool our resources. We’ll evolve complexities.

What is visuality in writing? How do we attain materiality in language? How do we release our sense of authority and then reappear in the work more surprisingly ourselves?

Lytle Shaw’s books include Cable Factory 20, The Lobe, and Frank O’Hara: The Poetics of Coterie. A contributing editor for Cabinet, he has recently published catalog essays on Robert Smithson and Zoe Leonard for DIA Center, on Gerard Byrne for Koenig Books, and on The Royal Art Lodge for the Drawing Center. Shaw is currently working on two books: one about the politics of time in depicted landscapes and another about the status of poetry in recent theoretical debates.

Ed Friedman is the author of nine books of poetry and prose, including The Telephone Book; Humans Work; Mao & Matisse; and Drive Through the Blue Cylinders. He has collaborated frequently with visual artists Robert Kushner (The New York Hat Line and Away) and Kim MacConnel (La Frontera and Lingomats). Friedman has given readings and performances in venues such as The Museum of Modern Art, The Kitchen, and The Public Theater. For 16 years (1987-2003) he was the artistic director of the Poetry Project at St. Mark’s Church in NYC. He lives with his wife and 13-year-old son.

Dates at Lynden: June 3-June 7

Monday, June 3 2-7:30 pm
Tuesday, June 4 2-5 pm
Wednesday, June 5 2-5 pm
Thursday, June 6 2-5 pm
Friday, June 7 2-5 pm (reading to follow)

Related events:

Sunday, June 2
7 pm
$5-$8
Opening Reading: Lytle Shaw & Ed Friedman
This event takes place at Woodland Pattern Book Center, 720 E. Locust St., Milwaukee, WI 53212

Friday, June 7
7 pm
Workshop Reading & Celebration
Free
This event takes place at the Lynden Sculpture Garden.
Participants in the workshop offer a reading of work produced during the week followed by a reception.

   

Free to members or with admission to the sculpture garden.

Yevgeniya Kaganovich and her student assistants will take up residence in the studio all afternoon to make the next “planting” of grow, Kaganovich’s durational installation. grow is a system of interconnected plant-like forms simulating a self-propagating organism in multiple stages of development. Created from a singular material, recycled plastic bags, the system grows over time, its growth rate determined by the number of bags accumulated in our official recycling bin. Drop in to watch or participate as Kaganovich fuses the layers of plastic to create a surface similar to leather or skin, molds the skin into plant-like volumes, stuffs the volumes with more bags, and connects the forms with plastic bag “thread.” Tasks include cutting sheets and strips; fusing sheets and tubes; sewing bulb forms and connecting them to bases; crocheting tubes and necks; stuffing stalks; and assembling the plants.

   

Free to members or with admission to the sculpture garden.

Yevgeniya Kaganovich and her student assistants will take up residence in the studio all afternoon to make the next “planting” of grow, Kaganovich’s durational installation. grow is a system of interconnected plant-like forms simulating a self-propagating organism in multiple stages of development. Created from a singular material, recycled plastic bags, the system grows over time, its growth rate determined by the number of bags accumulated in our official recycling bin. Drop in to watch or participate as Kaganovich fuses the layers of plastic to create a surface similar to leather or skin, molds the skin into plant-like volumes, stuffs the volumes with more bags, and connects the forms with plastic bag “thread.” Tasks include cutting sheets and strips; fusing sheets and tubes; sewing bulb forms and connecting them to bases; crocheting tubes and necks; stuffing stalks; and assembling the plants.