Criticism/Theory Bootleg Staple-bound 42 pages 29 x 21 cm Texts in French / English   New       EUR 10 out of stock

Seth Price, Dispersion, 2014

“One of the way in which the Conceptual project in art jas been most successful is in claiming new territory for practice. It's a tendency that's been almost too successful: today it seems that most of the work in the international art system positions itself as Conceptual to some degree, yielding the "Conceptual painter", the "DJ and Conceptual artist", or the "Conceptual web artist". Let's put aide the question of what makes a work Conceptual, recognizing, with some resignation, that the term can only gesture toward a thirty year-old historical moment.“

English/French bootleg of Dispersion, a text published by Seth Price on his website in 2002. 

Fiction, Criticism/Theory First Edition Soft cover, perfect binding 122 pages Texts in English   New       EUR 22 out of stock

Seth Price, FUCK SETH PRICE, The Leopard Press, 2015

From one of the most influential artists of his generation comes a provocative, moving novella about what it means to be a creative person under today's digital regime. In the course of a gripping, headlong narrative, Price's unnamed protagonist moves in and out of contemporary non-spaces on a confounding and enigmatic quest, all the while meditating on art in the broadest sense: not simply painting and sculpture but also film, architecture, literature, and poetry. From boutique hotels and highway bridges to PC terminals and off-ramps; from Kanye West and Jeff Koons to George Bush and Patricia Highsmith; from the playground to the internet to the mirror, Price's hybrid of fiction, essay, and memoir gets to the central questions not only of art, but of how we live now.

Artist's book Bootleg Staple-bound 76 pages 29 x 42 cm Texts in English   New       EUR 70 ORDER

Continuous Project, Continuous Project #04, 2004

Reproduction of Monika Sprüth’s magazine, Eau de Cologne #01 (1985).

Continuous Project is Bettina Funcke, Wade Guyton, Seth Price and Joseph Logan.
Since 2003 they have adopted a variety of recuperative strategies that are less about nostalgia for (art) history than they are about the status of the material being reintroduced to the present.

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