Your Guide to Sculptures, Murals and More Outdoor Art in Milwaukee
Originally published in Milwaukee Magazine 6/28/24Milwaukee has world-class museums, galleries and exhibits to boot, but what’s an art lover to do on a warm day? Take a stroll through the streets to see the city’s murals, sculptures and hidden gems, ranging from historic to modern, whimsical to stirring.
West Facade Mosaic Mural
750 N. LINCOLN MEMORIAL DR.
Made of over 1.4 million pieces, the mosaic that graces the War Memorial Center was unveiled on Veterans Day 1959. The Roman numerals denote the years American soldiers fought in World War II (1941-45) and the Korean War (1950-53).
Brady Street Beasts
INTERSECTION OF WATER AND PEARSON STREETS
A metal water rat, dragonfly and deer ramble the corner before the Holton Street Viaduct. Officially named Cavorting Critters, they were a part of a Brady Street revitalization effort in 2000 and still welcome visitors today.
Sherman Park Rising
4715 W. CENTER ST.
From conception to drafting then painting, over 150 residents of Sherman Park came together to create this mural in 2017. The previous summer was marked by unrest in the neighborhood following the police killing of resident Sylville Smith. Artist Tia Richardson led the effort as a way for the community to express feelings, heal trauma and inspire hope.
People of the Road
INTERSECTION OF CANAL STREET AND MILWAUKEE ROAD (NEAR 35TH STREET)
Located on the Hank Aaron State Trail, these steel structures depict five Milwaukee Road workers assembling locomotives and train cars. For over 100 years, Milwaukee Road owned and operated a 10,200-mile railroad system across the country. The installation – designed by local artist Richard Taylor – honors the company’s hundreds of workers in the Menomonee Valley.
9 Pillars
INTERSECTION OF WASHINGTON AND SIXTH STREETS, UNDERNEATH I-94
These nine murals on freeway pillars in Walker’s Point are part of the Watermarks public art project, which reflects on water’s impact on our lives and communities. Artist Melanie Ariens worked with students from the nearby Acosta Middle School to design and paint each mural conveying facts and images about Milwaukee’s water history.
suns fall
818 E. MASON ST.
Wisconsin native and former MIAD instructor Katy Cowan created this piece, now a part of Sculpture Milwaukee’s “Actual Fractals Act I.” suns fall uses wood, rope and metal to create a shape reminiscent of a sundial. Instead of telling time, it depicts the colors of the passing sun in our natural environment.
Immigrant Mother
520 E. WELLS ST.
This 9-foot bronze statue in Cathedral Square Park honors immigrant mothers who braved danger and uncertainty to bring their families to Milwaukee. Originally unveiled in 1960, it was restored and rededicated in 2017 to coincide with a papal campaign advocating for migrants across the world.
River Place Lofts Mural
625 W. FRESHWATER WAY
Last year, local artist Dave Watkins painted this giant mural on the River Place Lofts in Walker’s Point. The abstract Cream City skyline features bright orange, gold, light blue and navy blue – colors also featured in the People’s Flag of Milwaukee.
Sculpture Milwaukee’s New Season
The latest batch of works in this annual program arrives June 3, and according to executive director John Riepenhoff, the season is set to be its most culturally and ethnically diverse yet. “The installation reflects how there are many different Milwaukees within the city,” he says.
The exhibition, called “Actual Fractals Act II,” features 15 artists – twice as many as last year’s “Act I.” Pieces include German-Iraqi artist Lin May Saeed’s Pangolin, made of bronze cast and lacquer, and a new sculpture by Japanese artist Naotaka Hiro called A Hole in My Stomach.
At the unveiling, MIAD professor Kim Miller will present a performance art piece called Social Choreography along Wisconsin Avenue. According to Miller, the act uses the sidewalk as a stage to show viewers another way to relate to architecture and art within a shared space.
“Our engagement around sculpture can be kind of as valuable as the object itself,” Riepenhoff says.
