Richard Prince - Contemporary Art Evening Sale New York Thursday, March 4, 2010 | Phillips

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  • Provenance


    Gladstone Gallery, New York

  • Literature


    R. Brooks, J. Rian, and L. Sante, Richard Prince, London, 2003 (another example of photograph on left illustrated on the cover)

  • Catalogue Essay


    In the present lot, Untitled (Publicity), 2003, Richard Prince juxtaposes one of his iconic cowboy photographs with two publicity photographs of topless cowgirls. The cowboy photograph on the left is an example of Richard Prince’s “rephotography,” his technique of photographing an advertisement, in this case a Marlborough ad, giving the mass-produced image a new life reframing it as high art. Similarly his found publicity photographs, here a pin-up photographed by Bunny Yeager and pop musician Sheryl Crow, take on new scrutiny when framed alongside his own re-photograph, with the repetition of the cowgirl emphasized, and the images that pop culture presents as truth repositioned to reveal their  superficiality.
    Prince collects these glossy photographs—some of which are inscribed with authentic signatures, while others are clearly marked in his own hand. As today’s stars are no longer just movie actors, but fashion models, socialites, musicians, and athletes, the range of subjects is increasingly wide, the circle of identification ever expanding. As with Gangs, Prince creates discrete sets of select images, called Publicities, frequently basing their combinations on incidental formal relationships…And whether intended to or not, the endless array of cheesecake poses by barely clad women in numerous Publicities begs the question whether this photographic trope, which reduces its subject to nothing more than a physical object, will ever be rejected, replaced, or rethought.
    N. Spector, “Nowhere Man,” Richard Prince, New York, 2007, p. 47

  • Artist Biography

    Richard Prince

    American • 1947

    For more than three decades, Prince's universally celebrated practice has pursued the subversive strategy of appropriating commonplace imagery and themes – such as photographs of quintessential Western cowboys and "biker chicks," the front covers of nurse romance novellas, and jokes and cartoons – to deconstruct singular notions of authorship, authenticity and identity.

    Starting his career as a member of the Pictures Generation in the 1970s alongside such contemporaries as Cindy Sherman, Robert Longo and Sherrie Levine, Prince is widely acknowledged as having expanded the accepted parameters of art-making with his so-called "re-photography" technique – a revolutionary appropriation strategy of photographing pre-existing images from magazine ads and presenting them as his own. Prince's practice of appropriating familiar subject matter exposes the inner mechanics of desire and power pervading the media and our cultural consciousness at large, particularly as they relate to identity and gender constructs.

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13

Untitled (Publicity)

2003

Ink on color and black and white photographs in three parts and printed paper in the artist’s frame.

41 x 61 in. (104.1 x 154.9 cm).
Signed, titled and dated “R. Prince 2003 untitled” on the reverse.

Estimate
$80,000 - 100,000 

Sold for $80,500

Contemporary Art Evening Sale

4 Mar 2010
New York