'Even good friends ask me, 'What is your work about?' And I really don’t know how to answer that question. Not being able to answer used to worry me. Now I think it saves me.'
It’s a fair question. If you’ve ever wandered into one of Price’s gallery shows and felt simultaneously fascinated and unnerved by the 45-year-old New Yorker’s barrage of vacuum-formed polystyrene casts of, say, a crumpled vintage bomber jacket, a human fist, or coils of rope, you are not losing your mind. Many of Price’s wall works consist either of a clever use of empty spaces and voids or a highly sheened, seemingly viscous surface suggestive of some embryonic goo.
PRICE: Hell comes with the idea of somebody ushering you in and saying, “You’ll love this. This place has everything.” It’s a kind of seduction, whereas heaven is airy and nothing but love and good feelings.. Now, I want to talk about how we first met, which must have been more than 20 years ago when you were working at EAI.
PRICE: Yeah. I poured a kind of viscous paint onto a glass that I balanced horizontally and filmed from underneath. I was thinking about that Jackson Pollock film by Hans Namuth [1951] and this whole idea of horizontality. Anyway, I recorded these pours and superimposed them on some of your video footage.JONAS: You and I had such a good dialogue at EAI. I remember back then you were trying to figure out a strategy for making art, working with ideas of distribution and reproduction.
JONAS: It makes me think of Duchamp’s “3 Standard Stoppages,” where he adhered dropped threads to canvas. Was that the inspiration? PRICE: When I say I don’t want the work to mean something, that doesn’t mean I don’t want it to mean something to someone. I want the viewer to make their own sense of things.
JONAS: It’s a different power—the power of, say, the internet rather than the power of a painting. Now, I know you are often grouped in with other artists who are your friends—people such as Wade Guyton, who also makes painting-like works through the use of machines. I wondered if you ever think about the artist Rebecca [R. H.] Quaytman, because I see similarities in the way she works with photographs in her paintings.
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