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Luther Price

The Dry Remains

Opening: Thursday, September 17, 6–8pm

September 17 – October 31, 2015

An image from a slide in Price's film. There is a granny with black glasses sitting at a table. Surrounding her are 6 circles that are excerpted images and depict red muscle.

Meat Chapter 3 (detail), 2015. 320 handmade slides in 4 slide carousel projections, variable projection dimensions. Individual slides: 1.5 x 1.5 inches (3.8 x 3.8 cm).

A photograph of a vitrine filled with items from Luther's life, some of which have been included in his films.

Objects from Luther's Life, 1962–2015. Sally's dream book / bullet from AK47... shot in Nicaragua 1985 / 13th rose... / Glasses from "A"... Tom Rhoads... Glasses from "Green"... / necklace and earrings from "Green" and "Mother" / chocolate box from "Green" / Mother's hair ... from "Green"... woman with dripping ices cream cone... / baby brother's shoes /....pill bottles... Mother's, Sally's and my baby teeth / ...Sally's purse... / photo "Sample Day," Mother and Aunt Sally... / Quandil's eye glasses... / Sally's factory work shirt... / Pachilla.... my first stuffed animal from Aunt Sally.....dimensions variable.

A work on canvas that include small images of bodily organs collages onto the surface. It like a piece of wallpaper where the images seem to be consistently applied.

Mascot in the Sky with Diamonds, 2015. Velum on canvas, 30 x 40 inches (76.2 x 101.6 cm)

A square artwork that contains film negatives effected by black and white coloration due to paint and nail polish.

Gauzey Day, 2015. Velum, paper, acrylic paint and nails on canvas, 24 x 24 inches (61 x 61 cm)

A square artwork with tessellated 35mm slides in color. They are glued at the edges and have mixed colors throughout.

Light Fracture Backwash, 2015. 35mm slides, acrylic paint and varnish on canvas, 24 x 24 inches (61 x 61 cm)

A flat artwork that includes small images of meat and body parts, many of which are illegible. At the bottom-left is an image of figures who's faces we cannot see.

Fibroid Kitchen Party, 2015. Velum on canvas, 30 x 40 inches (76.2 x 101.6 cm)

A figurative sculpture sitting on a stool that appears to be made of layered paper. The sculpture could be dissolving or decomposing. There are no facial features other than an open mouth, and there is a hole near the genitals.

Eat Fuck Live Shit Want Need: Sitting Figure 2, 1985. Chicken wire, fiberglass, resin and paper, 69 x 36 x 29 1/5 inches (175.3 x 91.4 x 74.2 cm)

Press Release

Callicoon Fine Arts is very pleased to present The Dry Remains, an exhibition of recent and early works by Luther Price opening on Thursday, September 17th with a reception from 6 to 8pm and continuing through October 31st. This exhibition is concurrent with screenings of Price’s newly restored films and rarely screened video work at Anthology Film Archives (AFA) from September 18th to September 20th.

Since the mid 1980’s, Boston-based visual artist Luther Price has been known for his iconic, deeply personal, and at times disturbing, Super-8mm films and live performances. In recent years, Price has moved from the Super 8mm format to recycled, distressed, and hand-painted 16mm films and 35mm slides, initially as a practical way of sharing a likeness of his films without risking the original works. Eventually, Price began sequencing these slides and projecting them as loops. Selections of the slide-based work were featured in the 2012 Whitney Biennial and recently acquired by the Museum of Modern Art and the ICA Boston. 

The Dry Remains combined with AFA’s film and video screenings offer a rare opportunity to witness the breadth and diversity of Price’s work across several media spanning three decades and marks the 30th anniversary of the artist’s near fatal gunshot wound to his abdomen, an event which has remained at the forefront of the artist’s work. The exhibition frames recent works in the context of Price’s earlier sculptural installation, Eat Fuck Live Shit Want Need. The selections from this sculptural series follow an exhibition of Price’s pre-shooting sculptural work featured at Participant INC last year. 

Two new series of 35mm slide work, Meat: Chapter 3 and Sugar Fractures share similar strategies in sequencing with earlier Utopia slides and make use of 35mm Hollywood film trailers. Installed as triptychs, the slide carousels occupy the gallery’s lower and main level. In addition to the slides, the exhibition introduces Price’s most recent work: paintings on canvas that incorporate slides, vellum, varnish and other collaged elements. Exhibited here for the first time, this series of paintings at once point to explorations in media new to the artist and continue Price’s visceral explorations of mortality and decay inexorably linked to his experimental film practice. 

In the last 10-15 years, Price has expedited the decay of material in his works by applying various household materials to the film surface: salt, cleaners, soil, and most recently, sugar. His latest approach culls visions of the artist’s most well known pseudonym, Tom Rhoades’ Cunt character from his early film and video work: Luther at his home (just a few blocks from where he grew up), smoking a cigarette, apron draped, in his kitchen, cooking up a batch of sugary 35mm slides with his three cats, Mr. Grey, Gurly, and Cartoon. 

Luther Price lives and works in Revere, MA. He studied Sculpture and Media/Performing Arts at the Massachusetts College of Art and Design (BFA 1987) where he currently teaches. His work in film, performance, and installation has been shown extensively, nationally and internationally. His slide-based work was recently acquired by the Museum of Modern Art and the Institute of Contemporary Art/Boston. He recently had a comprehensive solo exhibition at Usdan Gallery at Bennington College and a solo show at the Carpenter Center for Visual Arts in Cambridge, MA. Other recent exhibitions and film screenings include Luther Price, Lost and Found, Transmediale, Berlin, 2014; The Years Made Flies, Participant INC, NY, 2014; How Deep is Your Love?, Dirty Looks at MoMA/PS1, 2013; James and Audrey Foster Prize, ICA, Boston, 2013; International Short Film Festival Oberhausen, 2013; Xavier Hufkens, Belgium, 2013; 7 Films by Luther Price, ICA, London, 2012; Second Nature: Abstract Photography Then and Now, DeCordova Sculpture Park and Museum, Lincoln, MA, 2012; #9, Callicoon Fine Arts, New York, 2012; Whitney Biennial, 2012. Earlier noteworthy participations include We Melt Away (A Walking Picture Palace of Ice), Light Industry, Brooklyn, NY, 2008; Project Cotton Candy, Performa 05 at Participant INC, NY; The American Century: Art & Culture 1900–2000, Whitney Museum of American Art, 2000; Imitation Of Life, Thread Waxing Space, NY, 1999; Big as Life: An American History of Super 8 Film, MoMA, NY, 1999.

Callicoon Fine Arts is located at 49 Delancey Street. Gallery hours are 10am to 6pm, Wednesday to Sunday. The nearest subway stops are the B and D trains at Grand Street, the J and Z trains at Bowery and the F, J, M and Z trains at Delancey-Essex Street.

 

Film Screenings at Anthology Film Archives (32 2nd Avenue at 2nd Street): 

Friday, September 18th, 8pm

CLOWN (1991/2002), Super 8mm to digital, 30min; JELLYFISH SANDWICH (1994), Super 8mm to digital, 17min; SODOM (1989), Super 8mm to 16mm, 21min; HOME (1999), Super 8mm to 16mm, 13min

Saturday, September 19th, 8pm

A (1995), Super 8mm to digital, 60min

Sunday, September 20th 6:30pm

GREEN (1988), Super 8mm to 16mm, 30min; WARM BROTH (1988), Super 8mm to 16mm, 36min

Sunday, September 20th, 8:30pm

SHIT RAGS (1986), VHS to digital, 10min excerpts; HOPELESSLY DEVOTED (1986), VHS to digital, excerpt; POTATO PIECE (1986), VHS to digital, 15min; TOTALLY HOT (1987), VHS to digital, 3min; MEAT - performance documentation (1992), VHS to digital, 10min excerpt; CLOWN 2: SCARY TRANSFORMATIONS - performance documentation (1994), 10min excerpt

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