Current Exhibitions 

In both medium and message, Beth Lipman's ornate glass installation lnEarth belongs to this tradition of situating human finitude within broader horizons. Glass itself is a suggestive substance, able to precisely imitate forms while presenting a ghostly, translucent aspect as though the object had been drained of some essential vitality.

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Comprised of seventy-two ceramic sculptures of animal heads glazed in various shades of blue, A Fear of Unknown Origin is inspired by two things that seem completely unrelated. The first inspiration comes from the cyanometer, an esoteric tool alpinists used to measure distance by the shades of the sky. The second is the idiom “Entre le Chien et le Loup” (between the dog and the wolf), which describes the effects of dusk and being unable to differentiate between friend or foe. Harper’s installation unifies the two with a gradual gradient of blue and a corresponding range of expressions, from smiles to snarls.

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Yi’s site-specific outdoor installation, The Legend of the White Snake, is part of MOWA’s own reimagined landscape. Coming to West Bend from downtown Milwaukee—where it was part of the ongoing public art project Sculpture Milwaukee—the work is entirely constructed from PVC, forming a dynamic tangle of tubes that towers over viewers like a scribble incarnate. The Legend of the White Snake reconfigures the landscape and engages interest from every vantage point.

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From remote natural wonder to “Waterpark Capital of the World,” Wisconsin Dells has reigned supreme as the state’s premier tourist destination for nearly 160 years. Among the Wonders of the Dells presents more than 100 photographs from eight artists recounting the fascinating history and transformation of Wisconsin Dells.

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Conventional display of art privileges level lines and generous spacing—all the better to spotlight the merits of individual works. Both Steven Foster’s Steve Lacy Series and Tomiko Jones’ A Place to Rest flout these principles of exhibition to reflect influence and collaboration, making the installation of the photographs as much a part of the work of art as the photographs themselves.

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Photographers Barbara Ciurej and Lindsay Lochman have collaborated for more than thirty years on projects that challenge the viewer to think differently. In Processed Views: Surveying the Industrial Landscape, the dynamic duo reinterprets the work of nineteenth-century photographer Carleton Watkins whose western landscapes were both aesthetic documentation and advertisements for the bounty of America. Ciurej and Lochman use mass-produced, processed foods such as marshmallows, potato chips, cereal, and gelatin to recreate these landscapes, forcing the viewer to reexamine notions of consumption, progress, and changing landscapes—both natural and societal.

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