"I have always liked de Kooning’s Women paintings. It started off with a book of his, And I just started drawing on it… after I did the books, I started to make collages. So, it’d be like one of his women on the left, and one of my men on the right… You know, it’s just kind of a new way of dealing with the figure, this idea of the photographic part and the drawing part fused together."
—Richard Prince
來源
紐約 Barbara Gladstone 畫廊 Douglas S. Cramer 收藏（購自上述來源） 紐約，佳士得，2012 年 11 月 14 日，拍品編號 51 現藏者購自上述拍賣中
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.
