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Kelley Walker (b. 1969)
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Kelley Walker (b. 1969)

Schema: Aquafresh plus Crest with Whitening Expressions (Trina)

Kelley Walker (b. 1969)
Schema: Aquafresh plus Crest with Whitening Expressions (Trina)
image on CD-Rom
dimentions variable, the image can be printed however the owner desires
Executed in 2006, this work is from an edition of five
Paula Cooper Gallery, New York.
Acquired from the above by the present owner.
Kelley Walker, exh. cat., Grenoble, Le Magasin Centre National d'Art Contemporain, 2007 (another from the edition illustrated in colour, pp. 32, 34-35 and 83).
New York, Paula Cooper Gallery, Kelley Walker, 2006.
London, Royal Academy of Arts, USA Today, New American Art from The Saatchi Gallery, 2006-2008 (illustrated in colour, p. 392). This exhibition later travelled to Saint Petersburg, State Hermitage Museum.
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Beatriz Ordovas

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Lot Essay

'I think appropriation points to or suggests some sort of original - a locatable source that one appropriates and in many ways eclipses...Looking back at artists dealing with appropriation in the 80s, it seems the strategy of replicating in itself became the style or brand of the artist using it. In my works, I dont escape the effects of branding but think of the processes associated with appropriation as a way of dealing with branding as a social space.'
(Kelley Walker, 2008).

Using the cover of an African-American men's magazine King, Kelley Walker gives consumerist response to media provocation. Succumbing to the temptations of Hip-Hop beauty Trina, Walker offers his enduring lust in the form of lewd and raunchy 'splatter painting'. Drawing ironic entendres from the humorous Pollock reference, Walker's expressionism is actually made from squirting popular brands of toothpaste over the image, then scanning it into his computer. Raising complex issues of race, gender, body image, and representation, Walker offers one abject product to counter another, rendering them both infinitely more appealing. Kelley Walker's schema... recodes the interpretation of media. Using the front cover of King magazine, a publication vocal in its support of curvaceous women (rather than the mainstream too-thin ideal) as a proactive statement, Walker bathes hip-hop diva Trina in a variety of dental products (promising extra whitening effects). Using wry humour, Walker examines the underlying politics of ethnic and sexual representation as marketing strategies. Printing his digitised photos onto traditional canvases, Kelley Walker frames the disposable transience of advertising in the realm of high art; the immediacy of his images gains momentum as objects of critical contemplation, and lasting icons of social representation.

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