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Track joints made from 3/4 inch PVC I had laying around. Sawed a vertical slice out, pinch it together and it holds snug.
Stop Caressing Your Favorite DVD and Make Your Own Film!
5-DAY DIGITAL FILMMAKING WORKSHOP Nov. 9-13
Wiley’s work spans painting, sculpture, watercolor, set design, and filmmaking. He made his first prints in 1972 at Landfall Press in Chicago, where in 1989 he was the subject of a solo exhibition, “William T. Wiley: A Decade of Prints”. A committed printmaker, he has worked at Crown Point Press frequently since 1978. He participated in the group exhibition “Committed to Print” at the Museum of Modern Art, New York, in 1988.
Wiley was born in Bedford, Indiana, in 1937. He attended the San Francisco Art Institute, where he received his BFA in 1961 and MFA in 1962. His first solo exhibition was held at the San Francisco Museum of Modern Art in 1960. Since then, his work has been brought into many collections, including the Los Angeles County Museum of Art, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Walker Art Center in Minneapolis, the Whitney Museum of American Art in New York, and the Stedelijk van Abbe Museum in Eindhoven, The Netherlands. He received a Purchase Prize from the Whitney Museum of American Art in 1968, a Guggenheim Fellowship in 2004, and a Lifetime Achievement Award from the Southern Graphics Art Council in 2005. (Rachel Lion).
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William T. Wiley (born October 21, 1937) is an American artist. His practice spans a broad range of media including drawing, painting, sculpture, film, performance, and pinball. At least some of Wiley's work has been referred to as funk art.
He was born in Bedford, Indiana. Raised in Indiana, Texas, and Richland, Washington, Wiley moved to San Francisco to study at the California School of Fine Arts where he earned his BFA in 1960 and his MFA two years later. In 1963, Wiley joined the faculty of the UC Davis art department with Bay Area Funk Movement artists Robert Arneson and Roy DeForest. During that time Wiley instructed students including Bruce Nauman, Deborah Butterfield, and Stephen Laub. According to Dan Graham, the literary, punning element of Nauman's work came from Wiley. Wiley also acknowledges the effect Nauman had on his own work.
His first solo exhibition was held at the San Francisco Museum of Modern Art in 1960.
In the late 1960s Wiley collaborated with the minimalist composer Steve Reich and introduced him to Bruce Nauman.
Wiley continued to build upon his growing stature as a major artist with works appearing in the Venice Biennial (1980) and Whitney Biennial (1983). He also had major exhibitions at the San Francisco Museum of Modern Art (1981), M. H. de Young Memorial Museum, San Francisco (1996), and the Corcoran Gallery of Art, Washington, D.C. (2005).
In 2009, the Smithsonian American Art Museum presented a retrospective of Wiley's career titled What's It All Mean: William T. Wiley in Retrospect, from October 2, 2009 through January 24, 2010. A review in the Wall Street Journal stated: "Mr. Wiley's work is unlike any other in recent art... He is less a contemporary artist than a national treasure."
In 2010, the retrospective moved to the Berkeley Art Museum, from March 17 to July 18. The catalogue for the retrospective, "What's It All Mean: William T. Wiley in Retrospect", was co-published by the Smithsonian American Art Museum and University of California Press. In 2017, Wiley was the subject of a solo exhibition at Bivins Gallery, William T. Wiley: Where the Rub Her Meats the Rode.
Wiley also has works in the collections of the Art Institute of Chicago, the Museum of Modern Art, New York, the Whitney Museum of American Art, New York, the Corcoran Gallery of Art, Washington D.C., the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston, among many others. Wiley was the recipient of the Guggenheim Fellowship Award in 2004. He is represented by Bivins Gallery in Dallas, TX, Hosfelt Gallery in San Francisco and by Maxwell Davidson Gallery in New York City.
Collections (wikipedia).
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William Thomas Wiley (October 21, 1937 – April 25, 2021) was an American artist. His work spanned a broad range of media including drawing, painting, sculpture, film, performance, and pinball. At least some of Wiley's work has been referred to as funk art.
Early life and education
William Thomas Wiley was born on October 21, 1937, in Bedford, Indiana. He was raised in Indiana, Texas, and in Richland, Washington.
Wiley moved to San Francisco in the 1950s to study at the California School of Fine Arts (now known as the San Francisco Art Institute); where he earned his BFA degree in 1960 and his MFA degree two years later. Wiley was classmates with Robert Hudson.
Career
In 1963, Wiley joined the faculty of the University of California, Davis (U.C. Davis) art department with Bay Area Funk Movement artists Robert Arneson and Roy DeForest. During that time Wiley instructed students including Bruce Nauman, Deborah Butterfield, Stephen Laub, and Christopher Brown. According to Dan Graham, the literary, punning element of Nauman's work came from Wiley. Wiley also acknowledged the effect Nauman had on his own work.[8]
His first solo exhibition was held at the San Francisco Museum of Modern Art in 1960. In the late 1960s Wiley collaborated with the minimalist composer Steve Reich and introduced him to Bruce Nauman.
In the 1960s, Wiley collaborated with composer Steve Reich with several performance art pieces, including "Over Evident Falls", with Wiley creating visuals to Reich's music, with both men performing the piece in front of live audiences.
Wiley continued to build upon his growing stature as a major artist with works appearing in the Venice Biennial (1980) and Whitney Biennial (1983). He also had major exhibitions at the San Francisco Museum of Modern Art (1981), M. H. de Young Memorial Museum, San Francisco (1996), and the Corcoran Gallery of Art, Washington, D.C. (2005).
Starting in the 1980s, Wiley frequently collaborated with Lippincott Sculpture [12] to create a variety of metal fabricated artworks, including the gigantic eight story "The Tower of the No Bull Salvage",[13] "Gong", acquired by the Manetti Shrem Museum of Art, and "Harp", part of the collection of the di Rosa Center for Contemporary Art in Napa, California.
In 2009, the Smithsonian American Art Museum presented a retrospective of Wiley's career titled What's It All Mean: William T. Wiley in Retrospect, from October 2, 2009, through January 24, 2010. A review in The Wall Street Journal stated: "Mr. Wiley's work is unlike any other in recent art... He is less a contemporary artist than a national treasure."
In 2010, the retrospective moved to the Berkeley Art Museum, from March 17 to July 18. The catalogue for the retrospective, "What's It All Mean: William T. Wiley in Retrospect", was co-published by the Smithsonian American Art Museum and University of California Press. In 2017, Wiley was the subject of a solo exhibition at the Bivins Gallery in Dallas, Texas, William T. Wiley: Where the Rub Her Meats the Rode.
In addition to his extensive work as a painter and sculptor, Wiley was a dedicated printmaker, working with Landfall Press, Crown Point Press, Cirrus Editions, Magnolia Editions, Electric Works, Trillium Press, Shark's Ink, and other printmaking companies. He also created several limited edition art books in collaboration with Arion Press where he created art for "Godot", an imaginary staging of "Waiting For Godot", and "Don Quixote, Books I and II by Miguel de Cervantes"
In 2019, Hosfelt Gallery presented William T. Wiley: Sculpture, Eyes Wear Tug Odd, which emphasized Wiley's sculptures and constructions and their relationship to his work in other mediums. In a review for Square Cylinder, David M. Roth wrote, "In all, there are 40 pieces in the show, all of them worthy of sustained contemplation and discussion. I visited the exhibition twice, and each time I left the gallery feeling as if my head were about to explode, so dense is the imagery and text contained in these works. It borders on horror vacui. Given the madness engulfing us, that approach seems right. Wiley's art, always extraordinarily prescient, now feels more relevant than ever."[19]
Wiley's first post-humous exhibition was "Monumental" at the Hosfelt Gallery in October 2021.
In 2025, in addition to gallery exhibits at Parker Gallery, Los Angeles, and Hosfelt Gallery, San Francisco, Wiley's painting, "Shark's Dream", from the Whitney Museum's collection, was featured in the Whitney exhibition, "Sixties Surreal"
Also a singer and musician, Wiley collaborated with German composer Efdemin aka Phillip Sollmann, performing vocals on "Oh, Lovely Appearance of Death" for the 2019 album New Atlantic on the Ostgut Ton label.[22] Fact described the project as "inspired by Francis Bacon's 17th century utopian novel of the same name and according to the label 'oscillates between fast, kaleidoscopic techno, multilayered drones and acoustic instrumentation', incorporating the sounds of Sollmann's dance floor-oriented productions as Efdemin and his more experimental work."[23]
Wiley died on April 25, 2021, in a hospital in Greenbrae, California, due to complications of Parkinson's disease.
Energised and ready for the two-day filmmaking workshop: (from the left) Riyanto Lesmana, David Sugianto, Ibtisem Nassib, Pedro Resende, Lorenzo Ciani. In front of the NYU Tisch Achool of the Arts Asia www.tischasia.nyu.edu.sg/page/home.html
Backstage de la M;aster Class: 'The conscious choice of filmmaking', con Malgorzata Szumowska, modera: Ximena Urrutia en el marco de actividades del trigésimo séptimo Festival Internacional de Cine en Guadalajara. Guadalajara, Jalisco, México. Miércoles 15 de junio de 2022. © FICG / Ana Cristina Rodríguez Martínez