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  • Provenance

    Barbara Gladstone Gallery, New York; Skarstedt Fine Art, New York

  • Exhibited

    Deichtorhallen Hamburg, February 14 – May 11, 1997; Kunsthaus Zurich, June 18 – September 7, 1997, Birth of the cool: amerikanische Malerei: von Georgia O’Keeffe bis Christopher Wool, no. 38 (illustrated)
    Donaueschingen, Fürstenberg Sammlungen, ahead of the 21st Century—The Pisces Collection, June 2002 – October 2004, no. 97, p. 131 (illustrated)

  • Literature

    B. Curiger, Birth of the cool: amerikanische Malerei: von Georgia O’Keeffe bis Christopher Wool, Zurich, 1997, no. 38 (illustrated)
    B. Mendes Bürgi and B. Ruf, eds., Richard Prince Paintings, Ostfildern-Ruit, 2002, p. 83 (illustrated)

  • 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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Acrylic and silkscreen on canvas in two parts.
Overall 82 1/4 x 96 1/8 in. (208.9 x 244.2 cm).

$300,000 - 500,000 

Sold for $329,600

Contemporary Art Part I

16 Nov 2006, 7pm
New York