Jemima Wyman's Camouflage -Alrey Batol

Jemima Wyman  As seen by Dicky Chapelle, US special forces and 
their interpreter drink tea and discuss politics with a South Vietnamese 
Buddhist monk, near Khanh Hung, South Vietnam, 1962  2012

Showing at Milani gallery from 7 -21 October is a solo exhibition by Australian artist Jemima Wyman. The gallery is showing recent works based on her travels abroad which have the underlying themes of camouflage and political unrest. There are a couple of craft/sculpture based works but generally it is an exhibition of paintings. Her works are an eclectic mixing of references to current events using an Impressionistic painting style via the iconic pattern of military camouflage. This is a very post-modern style reminiscent of Gordon Bennett’s work which it may or may not be worth noting, is a member of the Milani stable.

Jemima Wyman As seen by Susan Meiselas, Muchachos await the 
counterattack by the National Guard, Matagalpa, Nicaragua, 
1978-79  2012

What is the value of art? Coming to see this exhibition we find that there are two types of values; artistic value and market value. They both seem to be operating independently from each other as they been since the invention of the art gallery or more accurately, since the commoditisation of aesthetic objects. Here we see a perfect example of art in the context of commerce. You find yourself analysing the content of art works yet look at where it is hung then think “I wonder how much these works fetch for?”. 

Milani Gallery installation view.

Being in the Milani gallery and stable, I would think these works would be worth more than the average Joe Bloe art school graduate’s. Not to take away anything from Wyman, she has a particular voice and style that has been snapped up by art market, no doubt boosted by her recent inclusion in the Liverpool Bienalle. But this is the commonplace nature of art in a capitalist society and it has to be said that Jemima’s place as an artist stands in between art and market.  The prestige of Milani representation cannot be overlooked as it affects the reception of these works from the beginning and my particular reception is a negative one. The monetary value of her work does not match up to the work’s artistic value. Buyers of these works would be paying for her voice or style and her commoditised potential, the common grounding to which will guarantee a stable rise in market value of the works and Jemima Wyman’s who was once an emerging artist seem to have blended in seamlessly in the background of the high-stakes art market which one must agree is a beneficial way of being included in the grand narratives of art history.