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  • Provenance

    Barbara Gladstone Gallery, New York

  • Exhibited

    New York, Barbara Gladstone Gallery, Richard Prince: It’s a Free Concert from Now On, May 11- June 21, 2002

  • Literature

    R. Benitez, ed., Richard Prince: It’s a Free Concert from Now On, New York, 2002, p. 13 (illustrated)

  • Catalogue Essay

    “I just finished a piece I’ve been working on for ten years. It usually doesn’t happen like that. It’s a ‘hood’ piece. Anyway I’m sure the usual references to Rothko will apply. Maybe he was painting hoods, car hoods…. Fuzzy cloudy car hoods. I don’t know why—that’s the trouble with his work: I don’t know what he was painting. Anyway, I just finished this car hood. Finally. Now it makes me want to paint more hoods. That’s the trouble with finishing something. You know somebody is gonna take it away and you’re left with what? Money. Yeah money. But you don’t have that hood anymore. This is the only ‘hood’ I have. It was the perfect thing to paint. Great size. Great subtext. Great reality. Great thing that actually got painted out there, out there in real life. I mean I didn’t have to make this shit up. It was there. Teenagers knew it. It got ‘teen-aged’. Primed. Flaked. Stripped. Bondo-ed. Lacquered. Nine coats. Sprayed. Numbered. Advertised on. Raced. Fucking Steven McQueened.” (Richard Prince as quoted in “In the Picture: Jeff Rian in conversation with Richard Prince”, R. Brooks, J. Rian and L. Sante, eds., Richard Prince, London, 2003, p. 23)

    Pro Street is unique amongst Richard Prince’s car hood series; it spans the entire ten years he was in production with the other examples from the series. Inspired by a trip to Los Angeles in 1987, Prince takes the molds of cars he has always admired—Mustangs, Challengers, Chargers, all masculine uber American models-- and paints them, celebrating the simultaneous engineering of the American machine and his own sculptural prowess. Molded from a 1968 Camaro SS, Pro Street embodies Prince’s unique style and abstraction of American culture.

  • 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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Pro Street

Fiberglass hood in two parts with Bondo, acrylic, flake paint and enamel mounted on wooden frame.
Overall 66 5/8 x 56 1/8 x 6 ¼ in. (169.2 x 142.6 x 15.8 cm
This work is unique.

$700,000 - 900,000 

Sold for $744,000

Contemporary Art Part I

16 Nov 2006, 7pm
New York