#SETH PRICE DISPERSIO HOW TO#

While both address the affinity with forms of commodified distribution and capitalist flows that this device implies, neither locates the kernel of Priceâ€™s project there, preferring instead the formal and conceptual maneuvers at which this work excels. In both cases they focus on his use of effects to create temporal and spatial holes to be filled by the viewer. Tim Griffinâ€™s analysis of Priceâ€™s work as retro advancement through strategic retreat in his 2009 article â€œThe Personal Effects of Seth Priceâ€ and David Joselitâ€™s framing of Priceâ€™s work within an epistemology of search in his article â€œWhat To Do With Pictures?â€ (2011) are both thoughtful readings of Priceâ€™s output up to this point. Other mappings, all constructed of laminated rare wood veneers, depict: a couple singing a duet a diptych of a person lighting anotherâ€™s cigarette and a boy bowing his head as he passes something to an older man a diptych of a hand with a pen pointing to a contract where a signature is required by another and a hand spooning food into anotherâ€™s mouth (5) a triptych of a woman breastfeeding a baby, a priest presenting communion to a man, and a hand dropping money into a shamed beggarâ€™s cup and the silhouette of an older couple, again either kissing or passing a secret, paired with a small framed drawing of two hands mingled in the same manner as the image from the press release, this time creating the profile of a jackass.(6) The ambiguity resulting from the positive/negative space reading of this work allows the viewer some room to determine meaning, specifically within the artifacted borders of Priceâ€™s engagement with the appropriation of mass commerce.

Maybe a kiss on the cheek, but the lift of the womanâ€™s chin suggests that she is just as likely whispering in his ear. The manâ€™s face isnâ€™t really positioned correctly for a kiss. Upon further looking, a relaxation of the eye creates, through negative space recognition, a set of alternative images: variations of a hand passing a key to another.(3) A larger piece, again on Dibond, appears first as an abstract map of countries or continents outlined in spray paint, before snapping into an image of a woman kissing a man delineated by the negative space of the wall.(4) But wait a second more and your mind changes again.

#SETH PRICE DISPERSIO HOW TO#

The exhibition consisted of eleven works, including the book How to Disappear in America.(2) Four pieces, described as ink on Dibond, are composed of elements that appear at first to be rhombuses of gold aluminum on which variations of a dancing figure have been printed in different colors. Pasted at the top of the release was an image of a drawing two hands, sleeved in a flouncy dress shirt, engaged in the formation of a shadow play character. A simple press release provided the process by which the wall works were made. It was his first show, that I am aware of, that did not include film or video. The show, which garnered him an Artforum cover and inclusion in that yearâ€™s Whitney Biennial consisted of a book, printed wall works on metal, and flat wall sculptures in laminated wood and painted aluminum. In 2008 Seth Price opened his third exhibition at Friedrich Petzel Gallery in New York, following on the heels of a solo exhibition at Kunsthalle Zurich.

Seth price dispersio