Bettina Funcke Reihenfolge der Bücher

Although best known for his influential work in sculpture, video, and writing, Seth Price has always made drawings and maquettes as a way to explore ideas developed in his other bodies of work. This book documents a group of these rarely seen works selected by curator Achim Hochdorfer for exhibition at Petzel East, New York. Spanning more than fifteen years, the art here encompasses media and materials that range from watercolor, airbrush, charcoal, and spray-paint, to collage, polymer compounds, thermoformed plastic, and fabric. Examples include drawings of Depression-era landscapes produced as studies for Price’s 2004 Calendar paintings; acetate and enamel maquettes for his 2005 mylar sculptures about Jihadi internet videos; graffiti-marker paintings on shrink-wrapped palettes from 2003; quickly-drawn cartoons intended to be greatly enlarged and printed on plastic for vacuum-formed knot sculptures; drawings for Price’s 2007 series of wood-veneer silhouette sculptures; paintings on wood executed as process tests for his 2012 envelope paintings; and research notes for an apocalyptic, Evangelical sci-fi novel. Price has made annotations throughout the book, recounting the context in which these works were made. This exciting, visually driven book, designed by Eric Wrenn, offers readers insight into the thought process of an artist.

This dense, manual-like monograph delves into Seth Price’s project Folklore U. S., developed from 2011 to 2014. The project premiered at dOCUMENTA (13), where Price presented three interconnected explorations: an installation of paintings and fabric sculptures from the commercial garment industry, a line of military-inspired clothing created with fashion designer Tim Hamilton and sold at a Kassel department store, and a fashion show. All works utilized the motif of the business envelope as both container and symbol, featuring envelope security patterns alongside abstract designs and corporate logos. Over the following years, a compelling body of work emerged, revealing the contradictions and desires linking finance, cultural critique, industry, labor, and aesthetics. Three interviews with various contributors provide insights into the labor and concepts behind this intricate project, using anecdotes and speculation to navigate fabrication processes, materials, and industry protocols. The book's design complements these discussions with abundant illustrations, showcasing the Folklore U. S. universe of sculptures, paintings, music, clothing, handbags, videos, drawings, sketches, and performances, spanning from New York’s Garment District to factories in Korea and China, art galleries, and German department stores. It concludes with a new text by Price, inviting readers into the artist's thought process.

Selten wurde die Kunst und deren gesellschaftliche Funktion so vielschichtig diskutiert wie zur Zeit. Die Kunst selbst steht in dem Konflikt zwischen dem Popularisierungsdruck von Außen und den Ansprüchen der Hochkultur. Dabei ist die Kunst der Gegenwart weder der Hoch- noch Massenkultur zugehörig. Anhand von Begriffspaaren wie Unsterblichkeit und Profit, Staat und Macht, Künstler und Publikum, entwickelt Bettina Funcke eine Theorie zeitgenössischer Kunst, deren Kern die Dialektik künstlerischer Praxis zwischen der Beständigkeit der Geschichte der Kunst und der dominierenden Präsenz der Massenkultur ist. In einer Parallelerzählung hat der New Yorker Künstler Wade Guyton das Buch illustriert.