Kelley Walker (b. 1969)
VAT rate of 5% is payable on hammer price and at 1… Read more
Kelley Walker (b. 1969)

A Black Star Press Distribution: Aquafresh plus Crest with Tartar Protection

Kelley Walker (b. 1969)
A Black Star Press Distribution: Aquafresh plus Crest with Tartar Protection
signed, numbered and dated '2/5 Kelley Walker 2002' (on a paper label accompanying the CD-Rom)
colour poster and CD-Rom
dimensions variable, the image can be printed at any scale and on any material the owner chooses
Executed in 2002, this work is number two from an edition of five.
Paula Cooper Gallery, New York.
Private Collection, USA
Acquired from the above by the present owner in 2007.
B. Ruf (ed.), Guyton Price Smith Walker, exh. cat., Zurich, Kunsthalle Zurich, 2007 (another from the edition illustrated, p. 145).
New York, Artists Space, Log Cabin, January-February 2005.
Special notice
VAT rate of 5% is payable on hammer price and at 17.5% on the buyer's premium. Please note Payments and Collections will be unavailable on Monday 12th July 2010 due to a major update to the Client Accounting IT system. For further details please call +44 (0) 20 7839 9060 or e-mail

Lot Essay

Only this signed disc plus the poster accompanying the CD is a saleable artwork by Kelley Walker. The disc and the image it contains can be reproduced and copies disseminated as often as the owner desires. Whoever receives a copy of the disc or image can likewise reproduce/disseminate either as desired. Furthermore, anyone with a disc or reproduction can manipulate the image and reproduce/disseminate it in its altered state. All forms of reproduction/deviation derived from this artwork perpetuates a continuum correlating to this artwork.
'Given that contemporary audiences are likely able to identify (and identify with) brand-name oral hygiene products more easily than they can recall the particular protagonists and context of the image, Walker marks the inevitable distance between the depicted scene and us. Indeed, however familiar the image may seem in the collective unconsciouscollective unconscious, one wonders what specific details about the conflict actually remain available to audiences today. Who is the man? What ultimately happened to these people? We risk viewing the image, again culled from a Time-Life book, as a bit of branded "history"--passively, as watchers--and this conceptual distance is both signaled and even enacted by Walker's evacuated gesture, which renders the overall "schema" deeply resistant to interpretation in its apparent vandalism. Paradoxically, the distance introduced by Walker's "empty" gesture serves to bring the scene of the image closer--if only by making more acute, even chilling, our awareness of what specificity, detail, and identification is potentially lost in the image's circulation and eventual aestheticization' (T. Griffin, "Please Recycle: Tim Griffin on the Art of Kelley Walker", in Artforum, New York, April 2005).

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