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Industrial Synth
Seth Price
2000-2001, 16:37 min, color, sound
More Info
Description
Ordering & Fees
Exhibition & Distribution Conditions
Images
Documents
Titles by Seth Price
+
"Painting" Sites
Analogue
Digital Video Effect: "Editions"
Folk Music & Documentary
Industrial Synth
Nieuw Jacxz Swinjge
Rejected or Unused Clips, Arranged in Order of Importance
Romance
Description
Ordering & Fees
Exhibition & Distribution Conditions
Images
Documents
Titles by Seth Price
+
"Painting" Sites
Analogue
Digital Video Effect: "Editions"
Folk Music & Documentary
Industrial Synth
Nieuw Jacxz Swinjge
Rejected or Unused Clips, Arranged in Order of Importance
Romance
Industrial Synth
Seth Price
2000-2001, 16:37 min, color, sound
Images
"Edited at EAI": Artist to Artist
Event Documentation: Image
"Edited at EAI": Artist to Artist, June 16, 2016
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\"short_desc\": \"A dense montage of graphics, charts, and animations, <i>Industrial Synth<\/i> takes up the tradition of the experimental essay film and flattens it into an oblique composition that reflects on the technological and consumerist dimensions of Modernity. Negating cinematic elements of narrative, performance, and conventional signification, Price's video nonetheless conveys a sense of the pathos of a contemporary digital society, which, despite its promise of the new, relentlessly circles around issues of obsolescence and death.\",
\"long_desc\": \"A dense montage of graphics, charts, and animations, <i>Industrial Synth<\/i> takes up the tradition of the experimental essay film and flattens it into an oblique composition that reflects on the technological and consumerist dimensions of Modernity. Negating cinematic elements of narrative, performance, and conventional signification, Price's video nonetheless conveys a sense of the pathos of a contemporary digital society, which, despite its promise of the new, relentlessly circles around issues of obsolescence and death. \r\n<br><br>The following piece of writing, signed \\"Set Price\\" and also called <i>Industrial Synth<\/i>, was distributed at the premiere of the video (2001) at The Museum of Modern Art, New York: \r\n<br><br>\r\n\\"Modernity, the period roughly spanning the mid 19th century to the present, has produced a vast body of linked and interrelated 'mass' or 'popular' culture, which is, in effect, an archive. This phenomenon is closely tied to the rise of time-based media, from film and the gramophone, through the LP and CD, TV and radio, HiFi, animation, video, and the World Wide Web. \r\n<br><br>\r\n\\"Most recent of these, the web represents a different order of information technology. Its interactivity distinguishes it from traditional media's 'total flow', which may run 24 hours a day, but can only be switched on or off. Moreover, the web is composed of disparate media previously available only in controlled broadcasts, or locked into discrete consumer objects such as videotapes and records. At least theoretically, then, the historical archive of pop culture becomes accessible, and, just as importantly, mutable: this is an opportunity not simply for preservation, but for re-circulation and recombination along new lines. \r\n<br><br>\r\n\\"An archive like this allows for an experience of history that is quite personal. Artifacts such as pop songs, typeface designs, logos, and advertisements, are, like illuminated manuscripts or Victorian corsets, headstones marking a bygone era; the difference is that an item of the 'just-past' may have originated in the lived experience of the viewer, and produces the shock of the uncanny: it remains the same as it was, and yet completely different. This shock is a recognition that the change has occurred in the viewing subject. These items are the detritus of a society predicated on perpetual turnover and obsolescence, and a personal experience of history is an intimation of one's own mortality.\\"\",
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\"short_bio\": \"In a conceptual, multi-disciplinary art practice that includes video, sculpture, and what he has called \\"redistribution,\\" involving sound, music, and written texts, Seth Price engages in strategies of appropriation, recirculation and packaging to consider issues of cultural production and the distribution of information. Shifting and manipulating the detritus of commodity culture, his projects have included early sampler-based academic music, anonymous Internet-circulated video, and art historical imagery. Investigating the cultures generated and re-circulated by mass media technologies and information systems, Price ultimately questions the production and dissemination of art and meaning itself. He is also part of the Continuous Project collective.\",
\"long_bio\": \"Seth Price's multi-disciplinary art practice has gained an international following. In conceptual works that include video, sculpture, sound, and written texts, Price engages in strategies of appropriation, recirculation and packaging to consider issues of cultural production, the distribution of information, and the role of ideology. Shifting and manipulating the detritus of commodity culture, his projects have included early sampler-based academic music, anonymous Internet-circulated video, and art historical imagery. Investigating the cultures generated and re-circulated by mass media technologies and information systems, Price ultimately questions the production and dissemination of art and meaning itself. \r\n\r\nAs Elizabeth Schambelan writes in <i>Artforum<\/i>: \\"Working in an expanded range of media and subtly deranging the strategies of mass-cultural production (repackaging, piracy), [Price] stakes out resistant, rather than recuperative, positions within the so-called space of flows - the partly virtual, partly physical field in which information, culture, and capital circulate under ever-increasing state and corporate control.\\"\r\n\r\nPrice is also part of the Continuous Project collective, which since 2003 has reprinted and disseminated seminal art texts and magazines, including the first issue of <i>Avalanche<\/i> (1970). <I>Dispersion<\/I>, Price's well-circulated, illustrated manifesto on art, media, reproduction, and distribution systems, was designed in 2001-02 for the catalogue of the Ljubljana Biennial of Graphic Art, and later published as an artist's book.\r\n\r\nSeth Price was born in East Jerusalem in 1973. He has had solo exhibitions at MAMbo - Museo d'Arte Moderna di Bologna, Italy; Kunsthalle Z\u00fcrich, Switzerland; Modern Art Oxford, Oxford, England (with Kelley Walker); Friedrich Petzel Gallery, New York; Art Gallery of Ontario, Canada; Galleria Emi Fontana, Milan, Italy (with Michael Smith); Artists Space, New York; Year, New York (with Mai-Thu Perret); and Reena Spaulings Fine Art, New York. Group exhibitions include the New Museum of Contemporary Art, New York; Altermodern, the fourth Tate Triennial at Tate Britain, UK; Galerie Rudolfinum, Prague; Blanton Museum of Art, Austin, Texas; Le Plateau, Paris; Air de Paris, Paris; <em>Greater New York<\/em> at P.S.1 Center for Contemporary Art, New York; Kunsthalle Basel; SculptureCenter, Long Island City, New York; the 2002 and 2008 Whitney Biennials; 2003 Ljubljana Biennial; Palm Beach Institute of Contemporary Art, Florida; and Paula Cooper Gallery, New York, among others. His video works have been screened at the Rotterdam Film Festival; Tate Britain, London; Institute of Contemporary Art, London; The Museum of Modern Art, New York; Eyebeam, New York; and Biennale de l'Image en Mouvement, Saint-Gervais, Geneva, among others.\r\n\r\nPrice lives and works in New York.\",
\"bibliography\": \"<br><br>\r\nBasta, Sarina. \\"Seth Price.\\" <u>Flash Art<\/u> Jan.\/Feb. 2005 (illus.)\r\n<br><br>\r\nBurton, Johanna. \\"Mystics Rather Than Rationalists.\\" In <u>Open Systems: Rethinking Art c. 1970<\/u>. London: Tate Publishing, 2005 (illus.)\r\n<br><br>\r\nCotter, Holland. \\"Seth Price.\\" <u>The New York Times<\/u>. Nov. 26, 2004\r\n<br><br>\r\nFirstenberg, Lauri. <u>Notes on Renewed Appropriationisms.<\/u> Parkett 67, 2003 (illus.)\r\n<br><br>\r\nHalter, Ed. Role Playing Games: An Interview with Seth Price.<u>Sound Collector 8<\/u>. 2002\r\n<br><br>\r\nIles, Crissie. \\"Seth Price.\\" <u>Whitney Biennial 2002<\/u>. New York: Whitney Museum of American Art, 2002. (illus.)\r\n<br><br>\r\nKimmelman, Michael. <u>Greater New York<\/u>. The New York Times, March 18, 2005\r\n<br><Br>\r\nPrice, Seth. <u>Dispersion (2001-2002). Ljubljana Biennial of Graphic Art 2003<\/u>. \r\n(catalogue). Ljubljana, Slovenia: International Centre of Graphic Arts, 2003. Rpt. \r\nNew York: Greene Naftali Gallery, 2003\r\n<br><br>\r\nPrice, Seth. <u>Poems<\/u>. Paris: Onestar Press, 2004\r\n<br><br>\r\nSaltz, Jerry. Painting \u00e0 la Mode. <u>Village Voice<\/u>. No. 249, 2002\r\n<br><br>\r\nSchambelan, Elizabeth. \\"Seth Price.\\" <u>Artforum<\/u>. May 2005 (illus.)\r\n<Br><br>\r\nSmith, Roberta. The Many Shades of Now. <u>The New York Times<\/u>, May 27, 2005\r\n<br><br>\r\nSpeers-Meers, Emily. \\"Seth Price: Two Way Privacy.\\" <u>Texte Zur Kunst<\/u>. March 2005. (illus.)\r\n<br><br>\r\nWalker, Kelley. Top Ten. <u>Art Forum<\/u>. April, 2004\",
\"documents\": null,
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\"url\": \"<br><br>\r\n<b><a href=\\" http:\/\/www.ubu.com\/sound\/price.html\\" target=\\"_new\\">Title Variable Project<\/a><\/b>\r\n<br><br>\r\n<b><a href=\\"http:\/\/www.distributedhistory.com\/\\" target=\\"_new\\">Distributed History website<\/a><\/b>\r\n<br><br>\r\n<b><a href=\\"http:\/\/www.continuousproject.com\/\\" target=\\"_new\\">Continuous Project website<\/a><\/b>\r\n<br><br>\r\n<b><a href=\\"http:\/\/www.distributedhistory.com\/Disperse.compressed.pdf.zip\\">Download Dispersion<\/a><\/b>\r\n<br><br>\r\n<b><a href=\\"http:\/\/www.distributedhistory.com\/decor.pdf.zip\\">Download Unique Source \/ All Natural Suicide Gang<\/a><\/b>\",
\"notes\": \"In an email exchange with Seth, 2009:\r\n\r\n------- Original Message --------\r\nSubject: \tRe: [Fwd: FW: Acquisition at E.A.I.]\r\nDate: \tMon, 27 Apr 2009 16:26:00 -0400\r\nFrom: \tSeth Price <price.seth@gmail.com>\r\nTo: \tAnn Adachi <aadachi@eai.org>\r\nReferences: \t<49F5F6D9.1090205@eai.org>\r\n\r\n\r\n\r\nHi Ann,\r\nThanks for the email.\r\nThose are my ideal conditions, but I stated them for those 3 works for \r\nthe Goetzes, because it makes sense for them specifically... I don't \r\nlike 16:9 ratio flatscreen TVs for my pieces, generally, but I wouldn't \r\nwant to make those the conditions for all works at EAI. I don't think it \r\nmakes sense for a school, for example. And it isn't necessary for a \r\npiece like Folk Music, which I think could go on a monitor. Maybe we \r\ncould just say that these are conditions for museum exhibition.\r\nBest,\r\nSeth\r\n\r\nOn Mon, Apr 27, 2009 at 2:18 PM, Ann Adachi <aadachi@eai.org \r\n<mailto:aadachi@eai.org>> wrote:\r\n\r\n Hello Seth,\r\n\r\n Rebecca forwarded me an email you sent to the Goetz Collection\r\n regarding the your screening conditions. Do these conditions apply\r\n to all works we are distributing? At the moment we have a screening\r\n requirement for Digital Video Effect: \\"Editions\\" only. Please let me\r\n know when you have a chance.\r\n\r\n Kind regards,\r\n Ann\r\n\r\n\r\n -- \r\n Ann Adachi\r\n Distribution Coordinator\r\n Electronic Arts Intermix\r\n 535 West 22nd Street 5F New York, NY 10011\r\n T: (212) 337-0680x12 F: (212) 337-0679\r\n\r\n\r\n\r\n\r\n -----Original Message-----\r\n From: Seth Price [mailto:price.seth@gmail.com\r\n <mailto:price.seth@gmail.com>]\r\n Sent: Wed 4\/22\/2009 12:38 PM\r\n To: Stephan Urbaschek\r\n Cc: EAI: Cleman, Rebecca\r\n Subject: Re: Acquisition at E.A.I.\r\n\r\n Dear Stephan,\r\n\r\n I believe EAI can get you images of some of these pieces, as well as\r\n bibliography and exhibition history.\r\n\r\n A couple of notes:\r\n\r\n All 3 works should be installed as projections, in a dim or dark\r\n room. Seating should be provided---comfortable seating if possible,\r\n rather than minimalist benches. The pieces have stereo sound. The\r\n pieces should be projected on a screen, rather than on the wall. If\r\n the room is small or intimate, the projected image should not be\r\n bigger than 2 meters across.\r\n\r\n Thanks and my best,\r\n Seth\",
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\"html\": \"<html>\r\n<head>\r\n<title>Gerry Schum @ EAI<\/title>\r\n<meta http-equiv=\\"Content-Type\\" content=\\"text\/html; charset=iso-8859-1\\" \/>\r\n<style type=\\"text\/css\\">\r\nt.left {}\r\nh.red {font-family:Helvetica, Arial, Verdana, sans-serif; font-weight:bold; color:#990000}\r\np.two {line-height:200%;}\r\np.onefive {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:200%; color:#000000}\r\np.normalbold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:11px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.twelvebold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:12px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.normal {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:150%; color:#000000}\r\na:link {color:#000000; text-decoration:none;} \/* unvisited link *\/\r\na:visited {color:#000000; text-decoration:none;} \/* visited link *\/\r\na:hover {color:#000000; text-decoration:none;} \/* mouse over link *\/\r\na:active {color:#000000; text-decoration:none;} \/* selected link *\/\r\n<\/style>\r\n<\/head>\r\n<body>\r\n\r\n<table width=\\"550\\" border=\\"0\\" cellspacing=\\"0\\" cellpadding=\\"0\\" align=\\"left\\">\r\n\r\n<tr>\r\n\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n\r\n<p class=\\"twelvebold\\">\r\n\r\n\r\n<strong>Video works by Robert Beck, Cheryl Donegan, Ursula Hodel, Nam June Paik, Seth Price, Carolee Schneemann, Trevor Shimizu, and Michael Smith, followed by a conversation with Robert Buck and Cheryl Donegan. <\/strong>\r\n<br >\r\n<br >\r\n<em>\\"Edited at EAI\\": Artist to Artist<\/em> highlights the rich collaborative process and the creative relationships between artists and the artists\/editors with whom they worked, through the lens of EAI's editing facility. Video works by Cheryl Donegan, Ursula Hodel, Nam June Paik, Carolee Schneemann, and Michael Smith—all edited at EAI—will be shown together with works by Robert Beck, Seth Price and Trevor Shimizu, three internationally recognized artists who spent formative years as EAI editors. Featuring works from the mid-1990s to the mid-2000s, <em>Artist to Artist<\/em> is the second in EAI's ongoing \\"Edited at EAI\\" program series. Artists Robert Buck and Cheryl Donegan will be in conversation following the screening. \r\n<br \/>\r\n<br \/>\r\nOrganized in conjunction with EAI's 45th anniversary, the \\"Edited at EAI\\" series highlights a historically significant but less well-known area of EAI's programs: EAI's Editing Facility for artists, one of the first such creative workspaces for video in the United States.\r\n\r\n\r\n<br \/>\r\n<br \/>\r\n<br \/>\r\n\r\n<\/td>\r\n<\/tr>\r\n\r\n<tr>\r\n<td width=\\"150\\" valign=\\"top\\">\r\n<img src= \\"http:\/\/eai.org\/user_files\/images\/public_program\/beck_songpoem_xl.jpg\\" width=\\"300\\" hspace=\\"0\\" vspace=\\"0\\" border=\\"0\\" \/>\r\n<br \/>\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"1\\">Robert Beck, <em>Song Poem (Trip Visits), 2001<\/em><br \/> <\/font>\r\n<\/td>\r\n\r\n<td width=\\"23\\" valign=\\"top\\"> <\/td>\r\n<td width=\\"221\\" valign=\\"top\\">\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">\r\n<strong>Thursday, June 16, 2016<br \/><br \/>\r\n6:30 pm<br \/>\r\n<br \/>\r\nElectronic Arts Intermix (EAI)<br \/>\r\n535 West 22nd Street, 5th Fl.<br \/>\r\nNew York, NY 10011<\/strong><br \/>\r\n<strong><a href=\\"http:\/\/www.eai.org\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">www.eai.org<\/font><\/a><\/strong><br \/>\r\n<br \/>\r\n<strong>$7\/ $5 Students<br\/>Free for Members<br \/>\r\n<br \/>\r\nRSVP: info@eai.org\r\n<\/strong><br \/>\r\n<\/font>\r\n\r\n\r\n<\/td>\r\n<\/tr>\r\n<br \/>\r\n\r\n<\/td>\r\n<\/tr>\r\n<br \/>\r\n<tr>\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n\r\n\r\n\r\n \r\n <p class=\\"twelvebold\\"><br \/>\r\n \r\n<br \/>\r\n<br \/>\r\n<strong>Program<\/strong>\r\n<br \/><br \/>\r\n<strong>Pinea Silva<\/strong>, Carolee Schneemann, 2012, 9:27 min, color\r\n<br \/>\r\n<strong>Somebody's Baby<\/strong>, Trevor Shimizu, 2011, 4 min, color\r\n<br \/>\r\n<strong>Industrial Synth<\/strong>, Seth Price, 2000-01,16:37 min, color\r\n<br \/>\r\n<strong>Analogue Assemblage<\/strong>, Nam June Paik, 2000, 2:08 min, color\r\n<br \/>\r\n<strong>Godiva<\/strong>, Ursula Hodel, 1997, 4:31 min, color\r\n<br \/>\r\n<strong>Bigmouth Strikes Again<\/strong>, Robert Beck, 1995, 11 min, color\r\n<br \/>\r\n<strong>OYMA (Outstanding Young Men of America)<\/strong>, Michael Smith, 1996, 9:23 min, color\r\n<br \/>\r\n<strong>Rehearsal<\/strong>, Cheryl Donegan, 1994, 14:25 min, color\r\n<br \/>\r\n<strong>Song Poem (Trips Visits)<\/strong>, Robert Beck, 2001, 6 min, color\r\n\r\n<br \/>\r\n<br \/>\r\n<strong>Total Running Time: 77 min<\/strong>\r\n<br \/>\r\n<br \/>\r\n \r\n\r\n\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">___________________________________<\/font><\/font><\/p>\r\n \r\n \r\n\r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n <br \/>\r\n <br \/>\r\n\r\nAcross five decades, an extraordinary group of artists has used EAI's facility to create some of the most significant works in media art's diverse alternative histories. Many more of these artists and works will be featured in subsequent screenings throughout our 45th anniversary year. \r\n\r\n<br \/>\r\n\r\n\r\n<br \/>\r\n\r\n<\/font>\r\n\r\n <\/font><\/font>\r\n\r\n\r\n \r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">___________________________________<\/font><\/font><\/p>\r\n\r\n <p class=\\"twelvebold\\">\r\n\r\n \r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\"> \r\n <br \/>\r\n <strong>About EAI<\/strong><br \/>\r\n <br \/> \r\n \r\n \r\nCelebrating our 45th anniversary in 2016, Electronic Arts Intermix (EAI) is a nonprofit arts organization that fosters the creation, exhibition, distribution, and preservation of moving image art. A New York-based international resource for media art and artists, EAI holds a major collection of over 3,500 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today's emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI services also include viewing access, educational initiatives, extensive online resources, technical facilities, and public programs such as artists' talks, screenings, and multi-media performances. EAI's Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art's histories and current practices: <strong><a href=\\"http:\/\/www.eai.org\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">www.eai.org<\/font><\/a><\/strong><\/font><\/font><br \/><br \/>\r\n\r\n\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n\r\n\r\nElectronic Arts Intermix<br \/>535 West 22nd Street, 5th Floor<br \/>New York, NY 10011<br \/>t (212) 337-0680<br \/>f (212) 337-0679<br \/>\r\n<strong><a href=\\"mailto:info@eai.org\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">info@eai.org<\/font><\/a><\/strong><\/font><\/p>\r\n\r\n<p style=\\"line-height:150%; color:#000000; text-decoration:none\\"><font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">\r\n\r\n<strong><a href=\\"http:\/\/www.facebook.com\/pages\/Electronic-Arts-Intermix-EAI\/69797591849?ref=nf\\" target=\\"_new\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">EAI on Facebook<\/font><\/a><\/strong><br \/>\r\n<strong><a href=\\"http:\/\/twitter.com\/#!\/eai_org\\" target=\\"_new\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">EAI on Twitter<\/font><\/a><\/strong>\r\n<\/font><\/p>\r\n\r\n\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/><br \/>\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n<img src=\\"https:\/\/www.eai.org\/user_files\/supporting_documents\/funders_logos_dca_nysca_web.jpg\\" \/><br \/><br \/>\r\n\r\nEAI's Public Programs are supported in part by the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Department of Cultural Affairs, in partnership with the City Council. EAI also receives program support from the Andy Warhol Foundation for the Visual Arts.<br \/>\r\n<br \/>\r\n\r\n<\/font><\/p><br \/>\r\n\r\n\r\n\r\n<\/td>\r\n\r\n\r\n<\/tr>\r\n\r\n<\/table>\r\n\r\n\r\n\r\n<\/body>\r\n<\/html>\",
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