Beschreibung:

Richard Prince and Cindy Sherman Untitled (Richard Prince and Cindy Sherman 1980 Set of two Ektacolor photographs. 20 x 24 in. (50.8 x 61 cm) each. Signed “R. Prince” and numbered of 10 on the reverse of each print. This work is from an edition of 10.
Provenance Metro Pictures, New York; Private collection, France Exhibited Munich, Sammlung Goetz, Jürgen Klauke Cindy Sherman September-March 1995 (another example exhibited); Paris, Musée National d’Art Modern, Centre Georges Pompidou, Fémininmasculin-Le sexe de l’art, October 1995-February 1996 (another example exhibited); New York, Museum of Modern Art, On The Edge: Contemporary Art from the Wener and Elaine Danheisser Collection, September 1997 - January 1998 (another example exhibited); Toronto, The Power Plant, American Playhouse – The Theater of Self- Representation, June-September 1998 (another example exhibited); Tokyo, Hara Museum of Contemporary Art, Hanover, Akademie der Künst, and New York, P.S.1, The Promise of Photography – The DG Bank Collection, October 1998-October 1999 (another example exhibited); Museum für Gegenwartskunst Basel, Richard Prince Photographs, December 8, 2001 - February 24, 2002 (another example exhibited) Literature D. Salvioni, “Richard Prince, Realist,” Parkett No. 34, Zurich, 1992; L. Phillips, Richard Prince New York, 1992; E. Janus, Victoria’s Revenge – The Lambert Art Collection, Zurich, 1998; C. Morris, The Essential Cindy Sherman New York, 1999; B. Mendes, Bürgi, B. Ruf, and G. van Tuyl, eds., Richard Prince Paintings-Photographs, Basel/Zurich/Wolfsburg, 2002, pp. 118-119 (illustrated); R. Brooks, J. Rian, and L. Sante, Richard Prince 2003, p. 42 (illustrated); N. Spector, ed. Richard Prince NewYork/Ostfildern-Ruit, 2007, p. 32 (illustrated) Catalogue Essay Two of the most profoundly influential figures in contemporary photography, Richard Prince and Cindy Sherman collaborated in 1980 on this untitled dual self-portrait, a piece which simultaneously explores some of both artists’ most basic concerns: “These relate to our attitudes toward authenticity and originality, toward collective and subjective identity; they relate to the collage of the modern subject from myriad public images of seduction and desire which... are precisely the fictions that correspond to the facts of our reality; and they relate to the role of art as a parallel archive of images which is capable of luring this factual world into reflection in a kind of double twist,” (B. Burgi, B. Ruf, and G. van Tuyl, Richard Prince Paintings and Photographs, Germany, 2002). Sherman’s work typically explores the practice of the feminine masquerade, the condition of refracted subjectivity and the distorted self-image as filtered through the lens of media imagery; Prince, on the other hand, poses radical questions as to the possibility of authorship and authenticity with regard to the ubiquitous imagery that make up the visual vocabulary of our popular imagination. In Untitled (Richard Prince and Cindy Sherman , 1980, the two engage in Sherman’s standard practice of dress-up, becoming androgynous doubles of each other via Warholesque wigs and make-up; in the process demanding that their audience question the accepted wisdom of the truthfulness of the photographic image, the uniqueness of authorship, the singularity of the subject and the potential disruption of the masculine feminine binary as made possible by this sort of sophisticated critical intervention into the age-old practice of portraiture. Read More