NT: do they mean how scientist’s scientific findings that are not published or noticed is the same as being an artist?
SETH PRICE DISPERSIO PROFESSIONAL
SETH PRICE DISPERSIO FREE
Works by The Candy Factory ( which are available free to the internet audience are political, moving and relevant.
SETH PRICE DISPERSIO ARCHIVE
Price's theory that new public art should shy away from the beliefs/interests of a culture, or the influence art can perform, and direct its attention to the repackaging of existing material in a new archive is entertaining but I can not help but think a little glib. However, this is an extreme example and perhaps a more valid statement would have been that public policy art needs to tred carefully if it wants to avoid becoming negated by a highly emotive audience response. The decapitation did detract from the production techniques. Whether the fact that the work created the debate can be regarded as a "nothing" is debatable. The work became irrelevant a "self annihilating nothing"?
This is illustrated by the Daniel Pearl Video as most of the criticism or discussion was generated by people who did not see the video. The focus can shift from the work to the discussion around the work thereby making the actual piece redundant. "Immersing art in life runs the risk of seeing the status of art- and with it, the status of the artist- disperse entirely." (Price 5) "An object disappears when it becomes a weapon." (Price 11)ģ. Public policy is a self annihilating nothing (Price 11).Ģ. He suggests that new public art should look beyond purely "ideological" (beliefs/interests of culture) or "instrumental" (means/influence/helpful) functions of art. The internet is available to a huge audience but generates private encounters. In a contemporary context the "public" dimension relates to digital sites of production. Price goes further to claim that venue for public art has shifted into the private domain as the audience is no longer interested in direct communal experience. "Sculpture in the Expanded Field." October, Volume 8 (Spring 1979) pages 30-44). Price traces the changes in the venue of public art from the church to the museum to the outdoors, which seems compatible with Rosalind Krauss' discussions of the expanded field of sculptural practice ( Krauss, Rosalind. As I had a question mark next to that sentence I thought I better read it all again. The use of a wide ranging images to complement the text is sometimes humorous but othe times thought provoking, especially the three images of Daniel Pearl Video, Cubic Kennedy and After and Anonymous Kennedy.Īn interesting question was raised by Fiona in our reading group discussion, why does Price write "Public policy, destined to be the terminal as-if strategy of the avante-garde! A self-annihilating nothing" (Price 11). He obviously has a broad knowledge and compelling writing style. His work appears to be academic whereas on further investigation it is a sophisticated vehicle for personal opinion. Price, Seth " Dispersion" As a contemporary artist Seth Price's practice includes writing about art as a means of expression.
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