This catalogue is the first comprehensive publication on Price’s varied oeuvre. It offers an unflinching portrait of contemporary, mediated Western life. The exhibition at Stedelijk Museum is the first survey of the American artist’s work.
A key theme in Price’s work is the self under technological pressure. This is often expressed in terms of the ‘skins’ of surface, packaging, and wrapping: a photographic study of a person’s skin obtained through the technologies Google employs for mapping; a vacuum-formed plastic relief presenting a body part stranded in plastic; a large wall sculpture depicting the negative space between two people engaged in intimate action, greatly enlarged from a tiny internet jpeg.
‘Seth Price is a key figure in addressing technology and artistic authorship. His work traces an important art historical shift from the concept of collage, where chance played a major role and the image was constructed of multiple layers, to the concept of a unified image, which envelops us in an endless, undifferentiated, digital stream.’ – Beatrix Ruf, Director of Stedelijk Museum
Published on the occasion of the exhibition Seth Price: Social Synthetic, at Stedelijk Museum, Amsterdam (15 April – 3 September 2017), and at Museum Brandhorst, Munich (12 October 2017 – 18 March 2018).
Texts by: Cory Arcangel, Ed Halter, Achim Hochdörfer, Branden W Joseph, John Kelsey, Michelle Kuo, Rachel Kushner, Laura Owens, Ariana Reines, Beatrix Ruf.
- Seth Price - Social Synthetic (2017)
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Expression in the Information Age
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, GuytonWalker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
- Painting 2.0
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Clocks presents the complete collection of Laura Owens’ clock paintings in scaled down reproductions. As the title suggests, many of the canvases are outfitted with moving clock hands; raised lines that move and cast their shadows as they go. Are these in fact clocks – that is functional objects – and not paintings at all? And if they are, where are the numbers? There are numbers to be found, but they are tumbling across another painting’s surface, or used as place holders for eyes on a sketched-out face. Some clocks seem to dissolve into painterly gestures as the paintings make their way through such diverse styles as Pattern & Decoration, Op Art, Abstract Expressionism and Geometric Formalism. As a whole, the clocks suggest an impatience and unwillingness to settle or be still that allegorizes the dynamic, irreverent, and apparently impulsive nature of Owens’ imagery. This publication pictures both the front and the back of each canvas on the front and reverse of each page, respectively; thereby transforming the unique “don’t touch” quality of the canvases into a tactile and leisurely browse. This gratifying experience in book format suits the mix of ambivalence and accommodation that characterizes Owens’ work.
- Laura Owens - Clocks
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