Seth Price

  • Bruce Nauman, Bouncing in the Corner, No. 1, 1968, video, black-and-white, sound, 60 minutes. © Bruce Nauman/Artists Rights Society (ARS), New York.


    WHEN I WAS IN MY LATE TWENTIES, I worked at Electronic Arts Intermix in New York duplicating tapes and DVDs of video art. I had avoided art school, so those weekdays spent in a dim room illuminated by a spectrum of artistic positions were my education. One day, Bruce Nauman was up on the monitors doing his thing. The performance tapes Nauman made in the 1960s are rightly celebrated as classics of video art, but I had no patience for him. Duping certain tapes reminded me of when great novels were assigned in school: Regardless of the material’s quality, or because of it, I brought to the task a

  • Seth Price

    Felix Bernstein is sensitive to the symptoms of the hypermediatized New York City creative realm because he exhibits them. In Notes on Post-Conceptual Poetry (Insert Blanc Press) he calls bullshit on a lot of people, including Felix Bernstein, a character who understands sneak attacks, strategy, unmasking, disarming. Why this martial language? Because it’s a moment in the culture when people think everything’s fucked up. That statement should be interrogated, and Bernstein does. Putting dumb scare quotes around anything in the sentence lends it new funny/vicious flavors, and it still stands.

  • Joan Jonas, The Shape, the Scent, the Feel of Things, 2005. Performance views, Dia:Beacon, Beacon, NY.


    IT WOULD BE DISINGENUOUS to say that Joan Jonas is not a performance artist, but I don’t think of her that way. When she started in the 1960s, she sought bare land for building; these neighborhoods expanded around her only much later. She goes outside, generally.

    Jonas’s newest work, The Shape, the Scent, the Feel of Things, 2005, was commissioned by Dia:Beacon, and premiered there last year, with a reprise this past October. It tells stories, it’s representational, but, as with many aspects of her work, this is deceptive. Not cunningly so, but in the way of distances: You’re fooled easiest if

  • The Best Exhibitions of 2005

    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2005.

    “Edward Munch by Himself” (Royal Academy of Arts, London) This show gave me butterflies, screwed me up, and made me cry.

    John Baldessari, “A Different Kind of Order” (Museum Moderner Kunst, Vienna) I rarely go to exhibitions these days. Perhaps I’m too jaded. But the Baldessari retrospective was something else. Focusing on his production from 1962–84, it was notable for its curatorial indifference to the marketplace—so