In Milwaukee, a Smaller Art Market Belies a Strong Cultural Community
Observer · · g5263045
Artists and dealers describe a tight-knit, collaborative scene where peers share opportunities and institutions work together, from the Third Ward to Bay View. Still, truly fair pay and a deeper culture of collecting remain out of reach.
When it comes to fine art, a city the size of Milwaukee can offer anything a megalopolis such as New York or Los Angeles might—just less of it in more focused doses. From museums to galleries and artists to buyers, the community snuggled up against Lake Michigan possesses enough resources to power a vibrant art scene, but all hands must work feverishly to attract a fraction of the attention drawn to the bigger media markets.
Once known as the beer and bowling capital of the world and the home of Harley-Davidson, the metropolis of about 560,000 people continues to shake off its blue-collar roots as it evolves into a city of entrepreneurs and artists looking beyond its Rust Belt past.
The beating heart of its art scene is the Milwaukee Art Museum, putting its collection of masterpieces from O’Keeffe to Rothko and Miró and Münter on display as one of America’s most underrated art destinations. The institution continues celebrating the 25th anniversary of its modern complex and Santiago Calatrava’s Quadracci Pavilion . Crowned by the sails of the Burke Brise Soleil, one of only two Calatrava designs that move, the maritime-inspired masterpiece serves as the city’s international symbol and its most iconic skyline feature.
Kantara Souffrant , the museum’s curator of community dialogue, believes some local Milwaukee communities might not consider an art museum a welcoming attraction or could feel intimidated by the fine arts. She goes to work daily to invite those people to explore MAM’s galleries and activities.
“We do community listening sessions in Milwaukee to gather opinions and feelings of our neighbors,” Souffrant tells Observer. “We want everyone in the city to be inspired by this building and the museum inside it. We’ve learned that people want to feel a sense of belonging here.” She lists among the museum’s priorities serving as a resource for anyone of any age interested in art and culture. “In the listening sessions, people admit their vulnerabilities. They say, ‘I want to be inspired by this place, but I don’t feel I have enough knowledge to come here. Can you please tell me how and why to look at a work of art?’ So, we always think about accessibility on a broad spectrum.”
Away from the halls of MAM, the city’s working artists look to grow their abilities and portfolios for sales locally and internationally. Pamela Anderson is a painter and CEO of the Milwaukee Artist Resource Network, a collective of regional artists, gallery owners, philanthropists and other enthusiasts looking to foster local talent and encourage greater cooperation in the city’s arts scene.
Anderson sees that collaborative spirit as a strength of Milwaukee artists as there are fewer aggressive rivalries and competition than in bigger markets. “What makes Milwaukee unique is not simply the number of artists or galleries, but the willingness of organizations and individuals to work together,” she tells Observer. “Artists, nonprofit organizations, cultural institutions, galleries and creative entrepreneurs are increasingly collaborating to build a stronger arts community that benefits everyone.”
From her studio in the city’s Third Ward (an artistic hotbed near downtown), Anderson cites multiple key contributors. “We are fortunate to have world-class institutions such as the Milwaukee Art Museum, the Milwaukee Institute of Art and Design, Latino Arts, Inc., NŌ STUDIOS, the Wisconsin Black Historical Society and Museum and the new Bronzeville Center for the Arts, all of which contribute to the diversity of our cultural landscape,” she explains. “Organizations such as Imagine MKE, MKE LAX and Edessa School of Fashion are fostering professional growth and strengthening Milwaukee’s creative economy.”
Small but polished galleries dot the landscape throughout downtown and into some of the more vibrant suburbs. Scout sits in a repurposed tannery in the lakeshore community of Bay View. Once known for an eclectic blend of working immigrants and well-heeled yacht clubbers, the area is now the city’s most active small business incubator. Founded in 2019 by Dana and Jeff Redmon , Scout advertises the belief that “art collecting can, and should, be for everyone… No matter their budget.”
“There are a lot of talented creatives in Milwaukee, and the people are genuinely kind,” Jeff Redmon tells Observer. “I’ve found that, if you want to make something happen, whether it’s an art event, exhibition or creative project, you can usually pull it off here. Milwaukee has a unique mix of small-town community and big-city creativity.”
Both of the Redmons encounter the same problems in their Milwaukee gallery as owners in cities around the world, with art income failing to filter down into necessary sectors. They point to Wisconsin ranking at the bottom when it comes to investment in the arts, while the arts and culture sector generates $12.4 billion annually for the Wisconsin economy, accounting for 2.9 percent of the state’s gross domestic product.
“People often say they love art and want to support artists and the local art scene, but too often that support stops at words,” according to Jeff Redmon. “These days it feels like you have to build an event around everything just to get people through the door, and many people see those events more as entertainment than as an opportunity to support working artists.”
Dana Redmon adds that the oversaturation of art and maker markets also blurs the lines between fine art and handmade products. “Until we shift how people think about the value of living with original art, Milwaukee will struggle to reach its full potential as an arts community,” she says. “The good news is that this can change through education, accessibility and creating more opportunities for people to live with original art.”
Kimberly Burnett is a successful Milwaukee painter selling her works throughout the city and around the state. She cites the city’s Midwestern feeling of community as a strength. “There is a general feeling of generosity between the artists here,” she tells Observer “We share opportunities with one another and show up to each other’s shows. If one has questions, for example about whether an event is worth the hassle or if a person is difficult to work with, it is quite possible to find someone in your circle who has firsthand knowledge or experience to share.”
Even amid that sense of community, Burnett sees many of her peers competing for the same resources: “I feel that there is a lack of grants for artists here. It also seems that the better-paying art gigs go to the same people over and over, which leads to other people giving up on applying for opportunities. If Milwaukee wants to have a strong arts scene, as unsexy as it sounds, there needs to be fair compensation for artists. Otherwise we have no choice but to seek out other work and neglect our art practices.”
Across town, The Ox is a self-taught painter working under a pseudonym. Born and educated in Milwaukee, he returned home after stints in both New York and Los Angeles to find less expensive studio space and a more welcoming atmosphere.
“Since moving back, the affordability of life here makes creating easier,” he tells Observer. “The art scene is also less exclusive and alienating. In New York and L.A., if you can’t turn over money quickly or you can’t generate random buzz by falling in with the right clique, you’re simply living to pay rent. With that pressure off, the work just flows better for me.”