This text was one of two written for the publication to accompany an exhibition, 'In the Wake', h... more This text was one of two written for the publication to accompany an exhibition, 'In the Wake', held at Truth and Consequences gallery, Geneva, in the summer of 2014, curated by Julia Marchand. It concerns the work of the artist Steve Bishop, and reflects upon some studio visits conducted in preparation for the exhibition.
This text was one of two written for the publication to accompany an exhibition, 'In the Wake', h... more This text was one of two written for the publication to accompany an exhibition, 'In the Wake', held at Truth and Consequences gallery, Geneva, in the summer of 2014, curated by Julia Marchand. It concerns the work of the artist Philomene Pirecki. The main body of the text had been previously published as an exhibition review of her show 'Image Persistence' at Supplement Gallery, London. For its re-publication diaristic paragraphs (those in italics) were reinstated; they had been used in writing the text, and then omitted when the exhibition review was published (by This is Tomorrow).
An autobiographical essay on typography. The text is progressively set in each typeface it discus... more An autobiographical essay on typography. The text is progressively set in each typeface it discusses, as it explains the typefaces I have used throughout my life leading up to the production of a set of print works about the anecdotal histories of certain typefaces. The essay also begins to speculate on future series of works using other typologies and design histories. On the way, it discusses the authorship of Wikipedia content, the languages of certain Native American peoples, Marcel(s) Proust and Duchamp, the writing of fiction, Rayner Heppenstall, the RAL paint colour coding system, and the Battle of Magenta...
An experimental lecture, written and given for BA Fine Art students during the 2014/15 academic y... more An experimental lecture, written and given for BA Fine Art students during the 2014/15 academic year at The Cass, London Metropolitan University.
The lecture was to be on the subject of 'technology' in art, and its interaction with studio practice. In order to illustrate these ideas, a video was made showing the writing of the lecture notes, and the assembly of the Powerpoint file that would, in the end, not be used. Instead, the video was projected as the lecture was delivered.
For archival purposes, I added a soundtrack after the fact, delivering the lecture to a microphone.
The resulting video forms part of a series of artworks, entitled 'What sort of film', of which it's the 5th installment. Each installment discusses and extrapolates on an 'aspect' of artistic practice. The previous installments can be found on my Vimeo page.
This paper examines the impulse of artists to curate, the effects this has on practice, the notio... more This paper examines the impulse of artists to curate, the effects this has on practice, the notion of a fragmenting artistic practice, the the notion of curation as a form of digression. It periodically steps to one side of itself to imagine exhibitions that might be made, reflecting the ideas discussed. It discusses the work of Padraig Timoney, Christopher Williams, Art & Language and Joseph Kosuth (amongst many others)...
This dissertation was an enquiry into the role of the 'artist' characters in the novels of Don De... more This dissertation was an enquiry into the role of the 'artist' characters in the novels of Don DeLillo and, through these figures, an enquiry into the notion of 'installing' one practice within another. The literary critique/analysis of DeLillo's fiction is counterbalanced by a reading of Thomas Crow's art-historical writing, especially his account of the work of Christopher Williams. A theory is developed to account for the kind of intertextuality at work in both these areas; an intertextuality that is less a tissue of reference and quotation and more a 'hosting' of other practices. This theory is tentatively proposed as 'porous modernism'. The dissertation then applies these thoughts in a sustained fashion to DeLillo's novel 'Libra', a historical work that makes a deep engagement with the US government's 'Warren Report'; a text that DeLillo considers Joycean in its scope and its polyphony. Finally, the dissertation has a visual, practical component - a set of typewritten replicas of DeLillo's pages of drafts from the writing of 'Libra', produced during a research period at the Harry Ransom Center (University of Texas at Austin).
This text was one of two written for the publication to accompany an exhibition, 'In the Wake', h... more This text was one of two written for the publication to accompany an exhibition, 'In the Wake', held at Truth and Consequences gallery, Geneva, in the summer of 2014, curated by Julia Marchand. It concerns the work of the artist Steve Bishop, and reflects upon some studio visits conducted in preparation for the exhibition.
This text was one of two written for the publication to accompany an exhibition, 'In the Wake', h... more This text was one of two written for the publication to accompany an exhibition, 'In the Wake', held at Truth and Consequences gallery, Geneva, in the summer of 2014, curated by Julia Marchand. It concerns the work of the artist Philomene Pirecki. The main body of the text had been previously published as an exhibition review of her show 'Image Persistence' at Supplement Gallery, London. For its re-publication diaristic paragraphs (those in italics) were reinstated; they had been used in writing the text, and then omitted when the exhibition review was published (by This is Tomorrow).
An autobiographical essay on typography. The text is progressively set in each typeface it discus... more An autobiographical essay on typography. The text is progressively set in each typeface it discusses, as it explains the typefaces I have used throughout my life leading up to the production of a set of print works about the anecdotal histories of certain typefaces. The essay also begins to speculate on future series of works using other typologies and design histories. On the way, it discusses the authorship of Wikipedia content, the languages of certain Native American peoples, Marcel(s) Proust and Duchamp, the writing of fiction, Rayner Heppenstall, the RAL paint colour coding system, and the Battle of Magenta...
An experimental lecture, written and given for BA Fine Art students during the 2014/15 academic y... more An experimental lecture, written and given for BA Fine Art students during the 2014/15 academic year at The Cass, London Metropolitan University.
The lecture was to be on the subject of 'technology' in art, and its interaction with studio practice. In order to illustrate these ideas, a video was made showing the writing of the lecture notes, and the assembly of the Powerpoint file that would, in the end, not be used. Instead, the video was projected as the lecture was delivered.
For archival purposes, I added a soundtrack after the fact, delivering the lecture to a microphone.
The resulting video forms part of a series of artworks, entitled 'What sort of film', of which it's the 5th installment. Each installment discusses and extrapolates on an 'aspect' of artistic practice. The previous installments can be found on my Vimeo page.
This paper examines the impulse of artists to curate, the effects this has on practice, the notio... more This paper examines the impulse of artists to curate, the effects this has on practice, the notion of a fragmenting artistic practice, the the notion of curation as a form of digression. It periodically steps to one side of itself to imagine exhibitions that might be made, reflecting the ideas discussed. It discusses the work of Padraig Timoney, Christopher Williams, Art & Language and Joseph Kosuth (amongst many others)...
This dissertation was an enquiry into the role of the 'artist' characters in the novels of Don De... more This dissertation was an enquiry into the role of the 'artist' characters in the novels of Don DeLillo and, through these figures, an enquiry into the notion of 'installing' one practice within another. The literary critique/analysis of DeLillo's fiction is counterbalanced by a reading of Thomas Crow's art-historical writing, especially his account of the work of Christopher Williams. A theory is developed to account for the kind of intertextuality at work in both these areas; an intertextuality that is less a tissue of reference and quotation and more a 'hosting' of other practices. This theory is tentatively proposed as 'porous modernism'. The dissertation then applies these thoughts in a sustained fashion to DeLillo's novel 'Libra', a historical work that makes a deep engagement with the US government's 'Warren Report'; a text that DeLillo considers Joycean in its scope and its polyphony. Finally, the dissertation has a visual, practical component - a set of typewritten replicas of DeLillo's pages of drafts from the writing of 'Libra', produced during a research period at the Harry Ransom Center (University of Texas at Austin).
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Papers by David Price
The lecture was to be on the subject of 'technology' in art, and its interaction with studio practice. In order to illustrate these ideas, a video was made showing the writing of the lecture notes, and the assembly of the Powerpoint file that would, in the end, not be used. Instead, the video was projected as the lecture was delivered.
For archival purposes, I added a soundtrack after the fact, delivering the lecture to a microphone.
The resulting video forms part of a series of artworks, entitled 'What sort of film', of which it's the 5th installment. Each installment discusses and extrapolates on an 'aspect' of artistic practice. The previous installments can be found on my Vimeo page.
The lecture was to be on the subject of 'technology' in art, and its interaction with studio practice. In order to illustrate these ideas, a video was made showing the writing of the lecture notes, and the assembly of the Powerpoint file that would, in the end, not be used. Instead, the video was projected as the lecture was delivered.
For archival purposes, I added a soundtrack after the fact, delivering the lecture to a microphone.
The resulting video forms part of a series of artworks, entitled 'What sort of film', of which it's the 5th installment. Each installment discusses and extrapolates on an 'aspect' of artistic practice. The previous installments can be found on my Vimeo page.