On Thursday January 13th, 2000 the anticipated Mike’Kelley and John Miller Exhibition, Consolation Prize, opened at the : Belkin Gallery at UBC Van 14- Mar12). The evening before, the Emily Carr Institute or Art and Design had the opportunity to host a lec- ture in which both artists were able to present their work and conceptual ideas to a mix of eager students, faculty, and members of the Vancouver art community. What were we to expect? In the past three to four years this has been the one of the biggest art celebrities to come to Vancouver. We were confronted by a supernatural aura, the art celebrity. Mike Kelley definitely took on the role of the performer; however, can the “Art Star” be separated from the artist? Is it safe to say that Kelley is an entertaining performer? Or an arogant asshole - has his sudden fame gone to his head? ' Mike Kelley's work is very hard to situate; his work spans many disciplines and themes. It seems to be driven by various belief systems such as religion, social and cultural histories, and personal psychologies. Kelley is able to strategically position himself within the discourse and practice of painting and conceptualism. However, he has also been able to establish a unique asthetic which is far from the stereotypical tradition of stale and banal conceptual art. His oeuvre seems to be concerned with the anti-aesthetic, which examines the relationship between the mass media and everyday objects, conceived of as discarded and kitsch. Somehow, sex always seems to find its way into his work; he uses it to create humour and repul- sion at the same time. Mike Kelley is a character and plays several roles. We will always create an image of how we want someone to be, and they will never be that character. This is one edge of which Kelley takes advantage in his work. He takes on certain roles to produce and talk about his work, and he is able to recognize the fale histories of him- self and create new fictions. Consolation Prize presents a series of work which Kelley refers to as “surrogates”. These ai of sev- eral soft-sculptures with movie posters and audio components. The “surrogates” are basically fuck dolls waiting to be dry humped, and they are made up with the faces of failed celebrities such as the Olsen twins, Dolph Lungren, and Jean-Claude Van Dam. These fuck dolls are about our sexualy obsessed and deprived society - everybody wants to fuck a celebrity. Is Kelley in his own world here or is - this, valid? This work is grounded in the discourse of conceptualism and speaks to an elitest audi- _ ence; however, he is able to reach the general pees on an aesthetic level, and sex tee sells! John Miller was as Kelley's counterpart in ‘Chnolation Prize. Miller seemed 2 Pare ona ‘very. unusual role at the lecture, and at the opening of ConsolationPrize he unfortunately played support for the “real” art star. However, Miller is just as respected and estab- lished an artist as Kelley, though he remained in the shadows. How does someone gain such an aura? Do viewers and the media perpetuate this notion of the celebrity status? Or does the artist/celebrity gain it themselves? As Kelley hits the peak of his celebrity status, we must question his position. Has Mike Kelley become what he critiques in his work? If he has crossed that line he is in a very vulnerable position, and it will be very interesting to see how he will use this to his advantage or allow it to suppress his work as an artist. Reviewed by Ryan White another review next page! ; © Mike Kelley John Miller : “The Secret, 1999. The Lugubrious Game, 1999 . prints and poster. Installation: mixed media -404« 70,5 cm each Various dimensions me pee : Courtesy of the Meyer Reigger Galerie, Karlsruhe, Germany... > : Proto ced . a us i? nce, Los angeles calito ornia. Photo credit: Howard Ursuliak Joh Miller My Friend, 1989 Sculpture: mixed media oF] 183 x 70 x 35cm Collection of the Estate of Martin Kippenberger, K6In, Germany. Photo credit: Howard Ursuliak — @ (On Thursday January 13th, 2000 the anticipated Mike Kelley and John Miller Exhibition, Consolation Prize, opened at the Belkin Gallery at UBC (Jan 14- Mar12). The evening before, the Emily Carr Institute or Art and Design had the opportunity to host a lec- ture in which both artists were able to present their work and conceptual ideas to a mix of eager students, faculty, and members of the Vancouver art community. What were we to expect? In the past three to four years this has been the one of the biggest art celebrities to come to Vancouver. We were confronted by a supernatural aura, the art celebrity. Mike Kelley definitely took on the role of the performer; however, can the “Art Star” be separated from the artist? Is it safe to say that Kelley is an entertaining performer? Or an arogant asshole - has his sudden fame gone to his head? ‘Mike Kelley's work is very hard to situate; his work spans many disciplines and themes. It seems to be driven by various belief systems such as religion, social and cultural histories, and personal psychologies. Kelley is able to strategically position himself within the discourse and practice of painting and conceptualism. However, he has also been able to establish a unique asthetic which is far from the stereotypical tradition of stale and banal conceptual art. His oeuvre seems to be concerned with the anti-aesthetic, which examines the relationship between the mass media and everyday objects, conceived of as discarded and kitsch. Somehow, sex always seems to find its way into his work; he uses it to create humour and repul- sion at the same time. ‘Mike Kelley is a character and plays several roles. We will always create an image of how we want someone to be, and they will never be that character. This is one edge of which Kelley takes advantage in his work. He takes on certain roles to produce and talk about his work, and he is able to recognize the false histories of him- self and create new fictions. Consolation Prize presents a series of work which Kelley refers to as “surrogates”. These consist of sev- eral soft-sculptures with movie posters and audio components. The “surrogates” are basically fuck dolls waiting to be dry humped, and they are made up with the faces of failed celebrities such as the Olsen ‘twins, Dolph Lungren, and Jean-Claude Van Dart. These fuck dolls are about our sexualy obsessed and deprived society - everybody wants to fuck a celebrity. Is Kelley in his own world here or is this valid? This work is grounded in the discourse of conceptualism and speaks to an elitest audi- enée; however, he is able to reach the general public on an aesthetic level, and sex always sells John Miller was Kelley's counterpart in Consolation Prize. Miller seemed to take on a very unusual role at the lecture, and at the opening of ConsolationPrize he unfortunately played support for the “real” art star. However, Miller is just as respected and estab- lished an artist as Kelley, though he remained in the shadows. How does someone gain such an aura? Do viewers and the media perpetuate this notion of the celebrity status? Or does the artist/celebrity gain it themselves? AAs Kelley hits the peak of his celebrity status, we must question his position. Kelley become what he critiques in his work? If he has crossed that line he is in a very vulnerable position, and it will be very interesting to see how he will use this to his advantage or allow it to suppress his work as an artist. Reviewed by Ryan White another review next page! ‘Mike Kelley John Miller The Secret, 1999 The Lugubrious Game, 1999 (Gpeinted poster. Installation: mixed media 108 x 70.5 cm each Various dimensions Courtesy of the Meyer Rejgger Galeri, Karlsruhe, Germany, Te deat teva Urcanae Collection of Judy and Stuart Spence, Los Angeles, California, Photo credit: Howard Ursuliak po John Miler ‘My Friend, 1989 Sculpture: mixed media 183%x70x350n 27 Collection ofthe Etate of Martin Kippenberger Kl, Geiman Photo credit: Howard Ursuliak