Richard Prince - Contemporary Art Part I New York Thursday, May 17, 2007 | Phillips
  • Provenance

    Barbara Gladstone Gallery, New York; Jablonka Galerie, Cologne

  • Exhibited

    New York, Barbara Gladstone, Richard Prince, May 1 – June 12, 1993 (another example exhibited); Cologne, Jablonka Galerie, Girlfriends, 1993; Hannover, Kestner-Gesellschaft, Richard Prince – Photographien 1977-1993, June 3 – July 24, 1994; Toronto, The Power Plant- Contemporary Art Gallery at Harbourfront Centre, The American Trip: Larry Clark, Nan Goldin, Cady Noland, Richard Prince, February 2 – April 8, 1996 (another example exhibited); Kunstmuseum Wolfsburg, Richard Prince Principal Gemälde und Fotografien 1977 – 2001, April 27 – July 28, 2002 (another example exhibited)

  • Literature

    C. Haenlein, ed. Richard Prince – Photographien 1977-1993, Hannover, 1994, no. 48, p. 94 (illustrated); Scalo Publishers, ed., Richard Prince Adult Comedy Action Drama, New York, 1995, p. 170 (illustrated); C. Nickerson and N. Wakefield, Fashion Photography of the Nineties, Zurich/Berlin/New York, 1996, p. 144 (illustrated); P. Monk, The American Trip: Larry Clark, Nan Goldin, Cady Noland, Richard Prince, Toronto, 1996, p. 42 (illustrated); B. Mendes Bürgi, B. Ruf, and G. van Tuyl, eds., Richard Prince, Paintings – Photographs, Ostfildern-Ruit, 2002, p. 136 (illustrated); R. Brooks, J. Rian, and L. Sante, Richard Prince, London-New York, 2003, p. 75 (illustrated); R. Prince and S. Caley Regen, eds., Richard Prince Women, Los Angeles/Ostifildern-Ruit, 2004, p. 96 (illustrated)

  • Catalogue Essay

    For his Girlfriends series in the early 1990s, Richard Prince dissected the ephemeral world portrayed in biker magazines. These publications showcased photographs sent in from their readers of their own girlfriends—the biker chicks. The women themselves become objects of the men’s desires but also subjects of the men’s tastes. Through Prince’s rephotographing of them, the images are seen as in light of their original context and also within our own subjectivity.

    When asked why these particular images helped analyze the relationship between men and women, the artist has said, ‘Well, as far as the biker chicks are concerned, I just wouldn’t mind being one. I’ve never said that before, but I think that’s what I really feel. There’s a certain kind of desire and a certain amount of passion. I like what I think they look like, or perhaps what they are. I think many of these pictures have their own egos and they have an imagination of their own. That’s my own particular reaction. I also think the biker chick is perhaps a more realistic representation that the Grace Kelly girl-next-door. I mean, the biker chicks are the girls next door.” (Richard Prince quoted in B. Wallis, “A Conversation with Richard Prince”, Art in America 81, November, 1993).

  • 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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Untitled (girlfriend)

Ektacolor print.
64 1/4 x 44 1/2 in. (163.2 x 113 cm).
This work is from an edition of two.

$200,000 - 300,000 

Sold for $318,000

Contemporary Art Part I

17 May 2007
7pm New York