new-york

Ken Price

NYEHAUS/Matthew Marks Gallery/Brooke Alexander Gallery

Ken Price’s output has consistently opposed contemporary art traffic—whether, in the early 1960s, simply by having been made in Los Angeles or, lately, in its unabashed courting of pleasure (“joy,” he says, is the feeling he’s after), to say nothing of the perennial marginalization of ceramics and its cognates, craft and the decorative. Price figures as often in histories of pottery as in those of art, as demonstrated by the catalogues on view in a recent show of ephemera and design projects at Franklin Parrasch Gallery. It was Price’s moment in New York this spring; that exhibition, together with those at Nyehaus, Matthew Marks Gallery, and Brooke Alexander Gallery, constituted an all-out survey of his work, granting the critical handles and exposure it has long merited.

The show at Nyehaus—the gallery leading the East Coast charge for renewed attention to postwar LA art—mainly covered

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