Richard Prince - New Museum Benefit Auction New York Thursday, November 15, 2007 | Phillips

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  • Provenance


    Courtesy of the artist and Barbara Gladstone Gallery, New York

  • Catalogue Essay

    These Nurses are an extension of all that fascinating world of US post-1960s weightless modern silliness that Richard Prince explores, and also an extension of the blurring, smudging, and muddling-up pictorial language, with which he first started experimenting in the late 1980s…. The Nurses as a whole are about forbidden or constrained sensuality. She’s masked, she can’t breathe normally. Communication is made difficult: verbal (for her).... [Prince] doesn’t just represent her, he restrains and he hides her…. What kind of nurse is she? I think she’s him. Sometimes she’s a vampire, with bloody batches, as if she’s been sucking blood: and obviously he’s a bloodsucker in relation to all sorts of different types of art. She could be by a bedside in a ward but she’s not, she’s isolated: an erect frontal figure in white isolated against dramatic color fields. Her nursing or failure to nurse and her solitary sensuality—which is kind of fettered—this is all a bit like him. She’s resisting sensuality and so is he.
    M. Collins, “Richard Prince’s Fettered Feelings,” Richard Prince: Nurse Paintings, Barbara Gladstone Gallery, NewYork, 2003, pp. 6-7

  • 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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9

Untitled (Nurse)

2006

Acrylic and inkjet on canvas.

60 x 48 in. (152.4 x 121.9 cm).
Signed and dated on the reverse.

Estimate
$800,000 - 1,200,000 

Sold for $1,900,000

New Museum Benefit Auction

15 Nov 2007, 6.30pm
New York