REVIEWS CONTINUOUS PROJECT
SETH PRICEslash.cap in making one nostalgic for an almost innocent time, when lone gunmen stood a real chance of assassinating the President of the United States,
KELLEY WALKERslash.cap but also for a time when advertising was itself less insidiously sophisticated. These political and commercial narratives are joined by another, via the
CONTINUOUS artist’s incorporation into the work of a home movie made by Joan Jonas in the early 1970s, showing Richard Serra and Robert Smithson discussing the
PROJECT sources of art’s value. This is just one example of Price’s acute awareness of where his own practice sits in relation to recent artistic production; in this
MODERN ART OXFORD case, video’s changed status and increased commerciality.
28 APRIL - 1 JULY Both artists explore ideas of non-specifi c form and the time-specifi c
nature of an individual work’s production through a variety of media – from
fl atbed scanners to rolls of Perspex, enlarged hip-hop magazine covers,
silkscreen canvases, vacuum-formed polystyrene and gilded steel cut-outs.
In Price’s David with the Head of Goliath, the artist downloads an image of
By way of enticing you into a show, as well as a collaborative project Caravaggio’s famous work before multiply reproducing it in copperplate
of this nature, it would be hard to beat Kelley Walker’s circle in circle over a rainbow-coloured monoprint. Price is also one quarter of Continuous
(all works 2006), a collection of dif_f erently sized heavily scented chocolate Project, an art and publishing collective which not only devised the concept
disco balls slowly rotating on the their axes above you, while Seth Price’s and content of the exhibition catalogue but also staged a recreation of the
video projection, Digital Video Ef_f ect: ‘Editions’, plays straight ahead. Both 1974–5 El Paso trial of the maverick Church of the New Song by the US.
works of_f er multiple refl ections on art’s post-1960s history, specifi cally its Walker’s Untitled comprises a lightbox fi xed to the gallery wall,
relationship to Pop art, advertising and postmodernist appropriation. illuminating a collage of images charting the history of the Apple Mac
Price’s video works best through its continual overlaying of digitally and the now-defunct Branif_f International Airways alongside his own
altered sounds and images. Using footage taken from crass TV adverts, work, as it appears installed in a collector’s home and on Saatchi’s online
cats are made to dance and dogs to mope, while cheese is grated and pizza showroom. This illustrates not only Walker’s humour, but also a self-critical
pushed. This is juxtaposed with excerpts from archive footage obtained take on his place within the process of art’s corporate envelopment, and
from CBS and NBC of the assassination attempt on Ronald Reagan in succeeds in recovering some of its critical potential; an ambition which
which we repeatedly see a perforated fi gure fl ailing, shocked and bloody, alone separates Walker, Price and Continuous Project from a good many
on the pavement outside the Washington Hilton. This succeeds not only of their contemporaries. Luke Heighton
Seth Price, Hostage Video
Still, 2006, polyester
fi lm, ink, grommets,
plinth. Courtesy the
artist and Friedrich
Petzel Gallery, New York
ARTREVIEW one.linthree.linzero.lin
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