I’m not writing this stuff off yet, but there have been shows where I felt like, “What the hell was I doing? What a bad idea.” What if, in five years, you realize it’s all terrible? Is that the case with the works in this show?
SETH PRICE DISPERSIO FULL
In the past, you’ve said that sometimes it can take several months or even years for you to appreciate the full value of your works and what they’re about. Sitting in a light-filled room above the Petzel gallery, Price spoke with artnet News about the importance of ambiguity, why artists should not have to defend their work, and why he’s more interested in materiality than ever before. In fact, a certain ineffability is a prerequisite for a work leaving Price’s studio. He’s having trouble coming to terms with it too. As such, his work can be hard to come to terms with. Ironically, when it comes to his own artwork, Price takes a similar stance, opting to let his material experiments speak for themselves. You almost didn’t need words anymore: it was enough to say, ‘That painting is awesome,’ just as you’d say, ‘This spaghetti is awesome.’” “For better or for worse, everyone was in agreement that the market was the only indicator that mattered now,” the unnamed narrator states early on in the book, adding: “It was no longer necessary to deem a piece interesting, provocative, weird, or complex, and it was almost incomprehensible to hate something because you liked it, or like it because it unsettled you, or any of the other ambivalent and twisted ways that people wrestled with the intersection of feelings and aesthetics. In 2016, Price published his first novel, “ Fuck Seth Price.” Drolly dubbed a memoir, the story is told from the perspective of a mature artist who goes on a murderous spree whilst musing on the role of the art market and his own career.
He produced a fashion show for dOCUMENTA (13) was the subject of a yearlong research project, Seth Price is on our mind, at CCA Wattis in San Francisco and had an ambitious mid-career retrospective at the Stedelijk Museum in Amsterdam (it also traveled to the Museum Brandhorst in Munich). Since then, he’s mounted shows all over the world and published dozens of books. These works are a long way from what Price advocated in “Dispersion,” his seminal essay about dematerializing art that first made Price a rising star in the early 2000s. They depict what look like real, yet unidentifiable objects-like instruments from a foreign science. Meanwhile, in the back room, a row of mixed media panels-made from various combinations of printer ink, acrylic polymer, paint, plastic, glue, wood, and metal-come together in a corner.
SETH PRICE DISPERSIO SKIN
Nearby, a couple of fabric lightboxes depict a glitchy, unrecognizable patch of skin captured in a similar fashion. In the center is a ceiling-mounted video, Social Synth (2017), that rolls through stitched-together images captured by a robotic camera scanning the skin of a squid. Price’s new show at Petzel Gallery, “Hell Has Everything,” is his first at the gallery in six years. For another, much of his work is about confronting these and other stingy art world conventions. For one, he doesn’t operate within one form and instead bounces between mixed-media art, writing, music, and other arenas.
SETH PRICE DISPERSIO FREE
The term “artist,” free though we think it is, actually refers to a very specific type of maker, one who often carves out a niche in an accepted medium. Seth Price is not an artist-or at least, he’s hesitant to adopt that title.
0 kommentar(er)
