JUST OVER A WEEK AGO, I attended a reception for a specially-commissioned set of works by ten top contemporary artists.
All the artists had to start with the same object and paint or otherwise decorate it to their tastes.
The objects of beauty: Five-foot-tall fiberglass coffee mugs.
It was a promo piece for Millstone Coffee, the Everett, WA-founded, value-priced, supermarket gourmet-coffee operation that was bought a couple years back by none other than Procter & Gamble, the conglomerate ruthlessly fictionalized in Richard Powers’s novel Gain.
P&G’s been running national TV spots touting Millstone as the real coffee lover’s alternative to “that leading specialty-coffee chain,” alleging that other company’s more interested in selling T-shirts (i.e., promoting its brand name) than in serving up the finest quality java.
That’s a mighty allegation to be made by P&G, which practically invented brand-name marketing early in this century.
But anyhoo, they’re trying to emphasize that real-coffee-lovers image by test marketing a line of even gourmet-er beans, “Millstone Exotics.” That’s where the artists came in.
They include several whose work I’ve followed for some time–Parris Broderick, Meghan Trainor, and Shawn Wolfe.
Their colorfully-decorated big mugs, to be trucked around to public outdoor viewing spaces in the cities where Millstone Exotics will initially be marketed (Seattle, Portland, and Spokane), were meant by the company to convey a new image for the new higher-end product line; as something even fancy-schmancier than the stuff found in the coffee-store chains.
(Even though Millstone is now made at P&G’s existing coffee plants as well as its original Everett facility, and is shipped to supermarkets by the same distribution infrastructure that brings you Tide, Tampax, Iams pet foods, and diet snacks made with Olestra.)
Anyhoo (again), the artists at the reception expressed no public qualms about the project (many have done commercially-commissioned work before); not even for a company traditionally known for less than avant-garde cultural visions. And, goodness knows, in today’s art climate they could certainly use the income.
I have just one beef about the project. Because the giant cups were devised for outdoor display during the winter, they were molded with sealed tops. They can’t be reused (without a lot of hacksawing) as something an exotic dancer could jump out from.
Not even for the old “Won’t you join me in a cup of coffee?” gag.
IN OTHER NEWS: Some background reading about the fashion industry’s “friends” in Saipan.
TOMORROW: Another possible way to restore contemporary art’s place in urban society.
ELSEWHERE:
