Seth Price, Danny, 2015, Dye-sublimation print on synthetic fabric, aluminium, LED matrix, 147.3 x 566.4 x 10.2 cm, Photo: Brica Wilcox, © Seth Price, Courtesy Stedelijk Museum Right: Seth Price, Different Kinds of Art, 2004, Vacuum-formed high-impact polystyrene, 12.2 x 86.4 x 7.6 cm, Photo: Ron Amstutz, © Seth Price, Courtesy Stedelijk Museum Info: Curator: Beatrix Ruf, Leontine Coelewij andAchim Hochdörfer, Stedelijk Museum, Museumplein 10, Amsterdam, Duration: 15/4-3/9/17, Days & Hours: Mon-Thu & Sat-Sun 10:00-18:00, Fri 10:00-22:00, Left: Seth Price, Closeness Stencil, 2008, Spray enamel on aluminum composite, 124 x 62.5 cm, Photo: Simon Vogel, © Seth Price, Courtesy Stedelijk Museum. His books include “Dispersion” (2002), a prophetic and almost instantly canonical essay on digital culture, “How to Disappear in America” (2008), a manipulated assemblage of found texts about vanishing from contemporary life and the autofictional novel “Fuck Seth Price” (2015). The “Vintage Bomber” (2005-08) wall reliefs were produced by forcing heated polystyrene over the cast of a bomber jacket to yield an empty shell that is both 3D icon and 2D image, while they may initially seem abstract, Price here considers the way a utilitarian object invented by the military becomes embraced and reworked, first by repeated waves of 20 th Century subcultures, finally by the global fashion industry. Sometimes the theme of surface manifests in more subtle ways, in terms of the abject, superficial, aesthetic of the web, or the contemporary fixation on repeating, all-over logos, as seen within clothing, envelopes, and stores.
#Seth price dispersio skin
Sometimes this manifests literally: a photographic study of the skin of a person obtained through the sorts of technology Google employs for mapping, vacuum-formed plastic reliefs showing body parts stranded in plastic, large wall sculptures depicting the negative space between two people engaged in intimate action, greatly enlarged from tiny internet jpegs. The self under technological pressure, a key theme in Price’s work, is often expressed in terms of surface, packaging, and wrapping.
One tactic involves collaborative performances with the art and publishing collective Continuous Project, formed in 2003 with Bettina Funcke, Wade Guyton, and Joseph Logan. Ranging from vacuum-formed bomber jackets to 16-millimeter projections of rolling waves, Price’s employ of interchangeable and nonspecific supports focuses on seeking out operations, allowing his work to avoid ossification as fixed images.
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#Seth price dispersio series
Besides a large selection of works from the artist’s most important series since 2000, the show will feature a number of new works. Ranging across mediums and disciplines, the exhibition includes: sculpture, installation, 16mm film, video, photography, drawing, painting, clothing and textiles, web design, music and sound, and poetry. His appropriative work, which often comprises what he terms the “Redistribution” of pirated materials disrupts the operations of commodity culture and the information systems on which its ingratiating fluidity depends.Įncompassing more than 150 works created between 20, the exhibition “Social Synthetic” at Stedelijk Museum offers the first comprehensive overview of Seth Price’s oeuvre so far. Through paintings, sculpture, video, and media work, Seth Price underlines the production strategies, dissemination modes, and valuation patterns that art most typically occupies or assumes.
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