Richard Prince - NEW YORK NEW YORK New York Saturday, December 12, 2009 | Phillips

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  • Literature

    Edition for Parkett 72

  • Catalogue Essay

    "Woodstock 1969.  I took this picture Friday evening around seven thirty.  I had just turned nineteen.  It was the only picture I took that weekend.  I had gone to Woodstock with only one exposure in my camera.  I thought I could buy film in the nearest town.  Not knowing what I was getting into, I thought I could get out of it.  You know, "come and go."  Coming was hard enough (it took six hours to travel the last twenty miles, and "leaving" was impossible.  Anyway, realizing I was there to stay, I decided not to save my only exposure but rather get rid of it as fast as I could.  So I just stood up, whirled around and (click) took it."  -Richard Prince

  • 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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It's a Free Concert From Now On

Ektacolor print, on Fujifilm Photo paper.
30 x 33 1/2 in. (76.2 x 85.1 cm).
Signed, dated and numbered 31/66 in black marker on the reverse (there were also 26 artist's proofs in Roman numerals), published by Parkett Editions, Zurich and New York, framed.

$3,000 - 5,000 

Sold for $3,000


12 Dec 2009
New York