LANDERS, SEAN

PUBLISHER
JRP|RINGIER

BOOK FORMAT
Hardcover, 10 x 13 in. / 388 pgs / 400 color.

PUBLISHING STATUS
PUB DATE 12/31/2011
Active

DISTRIBUTION
D.A.P. EXCLUSIVE
CATALOG: FALL 2011 p. 76   

PRODUCT DETAILS
ISBN 9783037641781 TRADE
LIST PRICE: $95.00 CDN $95.00

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In stock

EXHIBITION SCHEDULE

St. Louis, MO
Contemporary Art Museum St. Louis, 01/22/10-4/11/10

"The kind of banal prattle that infuses Landers' brilliant early videos—their disclosure of inverted aspirations—is to millennial self-consciousness what the 19th century novel was to the bourgeois subject. Landers' onanism, both literal and literary, was partly a response to the analytical and propositional use of language in the work of artists such as Lawrence Weiner and On Kawara. Yet 'Sean's' soto voce critique of this emphasis of conceptual practice, by restoring 'emotionality,' hints at something further: a 'dramaturgical consciousness' that suffuses self-expression in a social space increasingly defined by the 'intimacy-at-a-distance' of parasocial relationships. If privacy was coveted in a bourgeois society overrun with the sphere of private life, it is a similar theatrical self that acts in the public-private sphere of social media. Already in Landers' voice we can detect this abiding injunction to lay bare, the distant echo of the vulgarization of intimacy afforded by the technologies of the self in the 'social network.' The combined effect is to sublate the 'distance from the self' that is implied in the very notion of a 'public.' For Landers, that is, before it was transformed into the typology of the simpering monologues of the online self, this was never feigned intimacy or puerile sentiment alone. After all, as he points out, 'you can't fake an erection.' But there are now millions of Seans out there, for whom the antinomies of earnest self-baring and narcissistic aggrandizement are the stuff of everyday. The assumption is rather that personal life is somehow 'meaningful enough to warrant widespread public attention and scrutiny,' as Jeremy Rifkin writes. If the singularly modern fear was that of being watched—an omnipresent electronic surveillance—that pathology has shifted to a dread 'that no one may be watching,' a condition Landers never seemed to take for granted."
—João Ribas, excerpted from the chapter Sean Landers Has 171 Friends published in Sean Landers: 1990-1995, Improbable History.

  

JRP|RINGIER

Sean Landers

1990–1995, Improbable History

Published by JRP|Ringier
Edited by Paul Ha. Text by Dominic Molon, Matthew Higgs.

Featured images are stills from Sean Landers' 1993 video <I>Narcissus</I>.Through media as various as paintings, diaristic calendars and performative videos, New York-based artist Sean Landers (born 1962) articulates his personal self-doubts and humiliations, attempting a sincere and unflinching excavation of the artist's consciousness. Landers foregrounds the artist's personality as an object worthy of study, and in his relentless articulation of emotion, at its most base and its most noble--from self-loathing to empathy and love--he reconceives and renews this persona. This volume, and the exhibition it accompanies at the Contemporary Art Museum Saint Louis, takes the years between 1990 and 1995 as Landers' formative and decisive period, and examines the conceits that he has cultivated over the course of his 20-year career, from the early yellow legal pads featuring the fictional artist Chris Hamson as autobiographer to the reclaiming of the persona by Landers' own voice.

Featured images are stills from Sean Landers' 1993 video Narcissus.

Sean Landers

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