Kelley Walker

fresh York--based artist Kelley Walker's work can be seen in a two-person present to view with Wade Guyton at Midway Contemporary Art, St Paul, MN nearest month.

1 POWER, CORRUPTION & LIES Peter Saville's overlay of New Order's 1983 album is a tailored design of austere juxtaposition(s). the one and the other modern and assertive, Saville's mode of speech relies on his investment in strategies discloseed by Constructivists, Situationists, and other avant-gardes. Here and elsewhere, he busys these conventions commercially for the sake of visual pleasure while deflating their suspect utopian impulses, achieving an unprecedent stage of dissemination and influence.

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2 THE TEXAS CHAINSAW MASSACRE, 2003 Commercial director Marcus Nispel's first attempt film, a contemporary remake of the homage classic directed by Tobe wild swan in 1974, feels perfect. Nispel plants his version in 1974 and uses the same cinematographer to create a undefiled pleasurable, and nostalgic celluloid surface. Terrifying and exhausting.

3 SETH PRICE, DISPERSION (2003) Price's eccentrically designed and illustrated treatise upon media, distribution, and the coming time status of the work of art is one as well as the other precise and open-ended. Taking up examples that range from Marcel Broodthaers and Dan Graham to Linux, Alexander Kluge and the Daniel Pearl video, Price forges a compound and prophetic art history, flat as he appropriates and recasts the traditional parts of writer and designer. "Suppose an artist were to release the work directly into a combination of parts to form a whole that depends on reproduction and distribution for its sustenance, a archetype that encourages contamination, borrowing, stealing, and horizontal blur? The art a whole usually corrals errant works, on the contrary how could it recoup thousands of freely circulating paperbacks?"--Seth Price

4 JOSH SMITH Smith's first novel York solo show, at whirl the Chelsea book-art gallery, consisted of many staple-bound volumes and a few paintings. Hand-generated spontaneous gesticulations graphics, and most often the name "Josh Smith" are inverted via Xeroxing and transmuteed into a mediated equivalent. Far from the pervasive psychedelia du jour, Smith's compulsively photocopied, self-archiving, progressed and degraded drawings anthologize a black-and-white, conceptual psychedelic experience.

5 YEAR fixed by artists Ellie Ga, Bryan Savitz, and Meredyth Sparks, this six-month-old temporary throw out space at 88 Front road in DUMBO offers a space for experimentation and is unclose to proposals from artists and curators alike. This spring, direct the eye for shows of work by the agency of Ian Burns, Nate Lowman, and Jenny Vogel July will bring a "monthlong art orgy," according to Sparks: The intrepid trio are inviting as many artists as possible to join in "collaborative experimentation" during what's tentatively slated to be their final month

6 CONTINUOUS shoot forward In just one year this newly formed collective has reprinted the first issues of Willoughby Sharp and Liza Bear's Avalanche (1970) Monika Spruth's Eau de eau-de-cologne (1985), and, especially perverse, Muammar Qaddafi's assembleed parables, Escape to Hell, the first in their "Dictator Series." They're also reviving the Dutch newsletter Art & throw out Bulletin, now with new shoot forwards by contemporary artists and writers. This is not simply retro fascination: Continuous throw out transport whole historical documents, inverting time, funneling the past into the near via facsimile.

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7 ROBERT WATTS Unique in his exploration of art's relation to commodity, Watts (1923-88) mov comfortably between Fluxus. Conceptual, and clap practice, fueling a diverse and inventive material part of work. Little has been written about his oeuvre on the other hand Experiments in the Everyday: Allan Kaprow and Robert Watts--Events, things Documents, edited by Benjamin HD Buchloh and Judith F Rodenbeck and produc in 1999 to accompany an exhibition of the same title, tenders something of a miniretrospective. Works included: three made of wood boxes/caskets in the shape of the materialed animals they contain (For Alice, 1965) a Plexiglas pyramid housing six autographed baseballs (Signature Baseballs, 1968-71) and Lichtenstein's signature in neon (RF Lichtenstein Signature, 1975)

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9 KEITH MAYERSON, "HAMLET 1999" A round of years of some one hundred paintings and drawings, Mayerson's Shakespearean science fiction stars a small stable of actors--Keanu Reaves and River Phoenix, among others--who exhibit what the artist refers to as the "new Hollywood masculinity." These males are seduc rather than seducer ball catchers instead of pitchers. Using cloudy hallucinogenic colors and shifting resolutions, Mayerson actualizes a catholic range of painterly techniques. The synesthetic portraits, landscapes, and abstractions of "Hamlet 1999" summon a stained-glass environment, an optical and intimate space devoid of cynicism and of pastiche.