Barbara Gladstone Gallery, New York; Jablonka Galerie, Cologne
New York, Barbara Gladstone, Richard Prince, May 1 – June 12, 1993 (another example exhibited); Cologne, Jablonka Galerie, Girlfriends, 1993; Hannover, Kestner-Gesellschaft, Richard Prince – Photographien 1977-1993, June 3 – July 24, 1994; Toronto, The Power Plant- Contemporary Art Gallery at Harbourfront Centre, The American Trip: Larry Clark, Nan Goldin, Cady Noland, Richard Prince, February 2 – April 8, 1996 (another example exhibited); Kunstmuseum Wolfsburg, Richard Prince Principal Gemälde und Fotografien 1977 – 2001, April 27 – July 28, 2002 (another example exhibited)
C. Haenlein, ed. Richard Prince – Photographien 1977-1993, Hannover, 1994, no. 48, p. 94 (illustrated); Scalo Publishers, ed., Richard Prince Adult Comedy Action Drama, New York, 1995, p. 170 (illustrated); C. Nickerson and N. Wakefield, Fashion Photography of the Nineties, Zurich/Berlin/New York, 1996, p. 144 (illustrated); P. Monk, The American Trip: Larry Clark, Nan Goldin, Cady Noland, Richard Prince, Toronto, 1996, p. 42 (illustrated); B. Mendes Bürgi, B. Ruf, and G. van Tuyl, eds., Richard Prince, Paintings – Photographs, Ostfildern-Ruit, 2002, p. 136 (illustrated); R. Brooks, J. Rian, and L. Sante, Richard Prince, London-New York, 2003, p. 75 (illustrated); R. Prince and S. Caley Regen, eds., Richard Prince Women, Los Angeles/Ostifildern-Ruit, 2004, p. 96 (illustrated)
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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