Richard Prince - The Collection of Lewis Kaplan London Saturday, June 28, 2008 | Phillips

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  • Provenance

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

  • Literature

    Phaidon, Richard Prince, 2003, p.9; Hatje Cantz, Richard Prince: Photographs, Ostfildern-Ruit, 2002, pp. 8-9; Skarstedt Fine Art, Richard Prince: Early Photographs, New York, 2001, pp. 137-138

  • Catalogue Essay

    By cropping and taking a photograph from an already existing picture, you’re in a sense fragmenting the real and attempting to add on, or ‘annex’ it to something more real.
    Another way and perhaps another step towards this pseudo-reality, is to make a photograph that has the effect of being sent away for. Not in the literal sense of course, but having the spirit of having been commercialized. This commercialization of the picture requires a sophisticated attitude or at least the permission of letting oneself work on a pairing or fifty-fifty partnership where something of another personality or emotion or product signs the work. The idea is to promote a “where the fuck did you get those” kind of take. This questioning reaction could in many respects become the point of seduction.
    Richard Prince, 1978

  • 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 (Cigarettes)

1978 - 1979
Two colour coupler prints.
Each 41 x 58.7 cm (16 1/8 x 23 1/8 in).
Each signed, dated and numbered 7/10 in ink on the verso.

£30,000 - 50,000 

The Collection of Lewis Kaplan

29 June 2008, 3pm