Tuesday, October 12, 2010

PoArt Exhibit: David Miller and Jane Wiley [40]

David Miller and Jane Wiley
Jamaica Plain, Massachusetts, USA

8/22/2010 - Original Proposal:

Statement

Our contribution (not yet titled) to The Prostitution of Art is planned to consist of four foam-core mounted panels, to be hung in two adjacent Mobius windows, facing outward so they can be viewed from the street. Compositionally, these would possibly work better in a single window as a 2x2 grid. However, if that were the case, the upper two panels would be more difficult to view, so two adjacent windows are preferable. The exact size and means of support are yet to be determined. The ideal windows are probably those right next to the main door to the space.

Each image will consist of text, wrapped onto and forming the iconic image of a Warhol soup can. The images of these cans, composed at least partially by the texts, will be laid onto textured backgrounds reminiscent of satin, silk, lace – textures somewhat suggestive of a courtesan’s undergarments.

Each of the four texts will present, briefly, a look at different aspects of the metaphor of “prostitution” as it relates to art – the topics being artworks themselves, the labor of artists generally, unionized sex workers, and child prostitutes. (We will not state that artists are just like child prostitutes.) The intention is to provoke further thoughts in the viewer about what the phrase “the prostitution of art” might actually mean.

The soup can images are 1) immediately legible as icons of commercially-successful 20th-century high art, and 2) may stand as “containers” for the concepts composing them. As the texts themselves will be relatively brief, the viewer may consider that further thought about each aspect are contained within the cans, should they care to open them.

David Miller and Jane Wiley

9/18/2010 - Opening:

Panels taped in pairs to two curtain tension rods which were in turn installed in two windows facing the patio at Mobius. Eleven battery powered lights (generously donated to Mobius by ProArt) were placed inside on each window sill.

Photos: William Evertson (taken outside facing in)




9/19/2010 - Facebook dialogue excerpts:

In response to Willaim Evertson's posting of the photographs of David Miller and Jane Wiley's pieces:

H (fellow artist):
Who's work is this?

WE (photographer):
I'm not sure H. If these had labels I missed them.

JW (co-curator):
David Miller and Jane Wiley

DM (one of the Artists):
There was just a little label sitting on the window ledge, inside. We didn't actually get around to naming the set of panels, so it's just "Untitled' by default.

WE:
Thank you J for reviewing the album and filling in tags where necessary

JW:
‎@D - I moved the tag so you can see it from the outside looking in; hope that's ok --

DM:
Sure! Thanks. We didn't pay a whole lot of attention to the mechanics of showing the work, aside from spending 2.5 hours trying to get all four panels level.

Note: several Facebook fellow artists "liked" the photos.

10/1/2010 - Ex Post Facto I:

Title: What Is Infamous?

Dimensions: 4 panels, 22" x 28" each, mounted on foamcore.

10/10/2010 - Ex Post Facto II:

Small Images: Jane Wiley






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