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Artworks

Untitled (Love Part 2), 2005

  • Artist

    Wardell Milan

  • Title

    Untitled (Love Part 2)

  • Date

    2005

  • Medium

    Digital chromogenic print

  • Dimensions

    42 × 50 in. (106.7 × 127 cm)

  • Credit line

    The Studio Museum in Harlem; Museum purchase with funds provided by the Acquisition Committee

  • Object Number

    2006.2.3

Wardell Milan photographs dioramas he makes by collaging personal photographs, images pulled from magazines, and reproductions of works by other artists. Untitled (Love Part 2) places a complex cast of spectators and people turned spectacles in a sprawling outdoor space. Muscular men lounge and pose on a track surveyed by a pair of cupids and, further off, by a man gazing over a partition. At the upper right, a group gathers to watch a boxing match and a man is caught mid-fall by a scrolling banner whose text repeats, “You love me you love me not.” A crowd assembles to watch and photograph him fall. Milan’s work puts the spectators under scrutiny, prompting them to consider what kind of gaze they cast.


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Artworks

Untitled (Love Part 2), 2005

  • Artist

    Wardell Milan

  • Title

    Untitled (Love Part 2)

  • Date

    2005

  • Medium

    Digital chromogenic print

  • Dimensions

    42 × 50 in. (106.7 × 127 cm)

  • Credit line

    The Studio Museum in Harlem; Museum purchase with funds provided by the Acquisition Committee

  • Object Number

    2006.2.3

Wardell Milan photographs dioramas he makes by collaging personal photographs, images pulled from magazines, and reproductions of works by other artists. Untitled (Love Part 2) places a complex cast of spectators and people turned spectacles in a sprawling outdoor space. Muscular men lounge and pose on a track surveyed by a pair of cupids and, further off, by a man gazing over a partition. At the upper right, a group gathers to watch a boxing match and a man is caught mid-fall by a scrolling banner whose text repeats, “You love me you love me not.” A crowd assembles to watch and photograph him fall. Milan’s work puts the spectators under scrutiny, prompting them to consider what kind of gaze they cast.


Explore further