Beschreibung:

Richard Prince Untitled (Make-up) 1983 Ektacolor photograph. 20 x 24 in. (50.8 x 61 cm). Signed and dated “R. Prince 1983” on the reverse.This work is from an edition of two plus one artist’s proof.
Provenance Gladstone Gallery, New York Exhibited New York, Whitney Museum of American Art, May 1 - July 12, 1992; Duseldorf, Kunstveriein, December 4, 1992 - January 20, 1992; San Francisco Museum of Modern Art; Rotterdam, Museum Boymans-van Beuningen, October 3 - November 27, 1993, Richard Prince Retrospective; Hannover, Kestner Gesellschaft, Richard Prince Photographs, June 4 - July 24, 1994; Basel, Museum Für Gegenwartskunst, December 8, 2001 - February 24, 2002; and Kunstmuseum Wolfsburg, April 27 - July 28, 2002, Richard Prince Photographs, August 2001 - July 2002; Los Angeles, Regen Projects, Richard Prince Women, February 19 - March 20, 2004 Literature Lisa Phillips, Richard Prince New York, 1992, p. 54 (illustrated); B. Bü̈rgi, B. Ruff, and G. van Tuyl, Richard Prince Photographs, New York, 2001, p. 108 (illustrated); Regen Projects, ed., Richard Prince Women, Los Angeles, 2004, p. 69 (illustrated); N. Spector, Richard Prince New York, 2007, p. 83 (illustrated) Catalogue Essay Art is not a mirror held up to reality, but a hammer with which to shape it.B. Brecht …what is the break signaled by the “post” of postmodernism a break from? … while this new attention to media may describe the sort of historical turning point, specifically the rejection, that Pop Art and its postmodern successors marked from the modernist formal preoccupations of the previous part of the century, this localized account doesn’t particularly weigh the sense of shock that all forays of both mass culture and mass-produced objects into high art have created throughout the century – from Synthetic Cubism, Surrealism, the work of Duchamp, on through Pop Art to the present. Mass culture crossover, or, in Brecht’s terms, transforming what is already there – and what is more always already there than the media (now more than ever)? – always threatened to thrown into disarray the founding assumptions of the traffic in high culture, from the sanctity of individual authorship – and all that it guarantees for the market in cultural objects – to the class divisions inherent in the spatial and monetary distinctions between mass and high culture (if not the spatial and monetary distinctions between their different audiences).L. Kipnis, “Repossessing Popular Culture,” from Ecstasy Unlimited: On Sex, Capital, Gender, and Aesthetics, Minneapolis, 1993, p. 15 Read More Artist Bio Richard Prince American • 1947 While some artists are known for a signature style, Richard Prince is most closely associated with his subject matter: for instance, Cowboys, his series of the Marlboro man magnified between 1980 and 1994; Nurses, sinister yet seductive, all copies from pulp novel covers; joke text paintings, simple block lettering of his own or appropriated jokes. Often labelled an artist of the Pictures Generation alongside Cindy Sherman and Robert Longo Prince has been said to be the contemporary artist who most understands the depth and influence of mass media over life in the 20th and 21st centuries. In whichever medium Prince chooses to work, he stays within the realm of appropriation. Of course Prince is not met without controversy, and he has been on the losing end of several lawsuits involving copyright infringement. His "Instagram" series — unedited reproductions of content posted by models, influencers and celebrities on their personal feeds — sold for upwards of $100,000 at primary market, making for a memorable moment at Frieze Week New York in 2015. View More Works