RICHARD PRINCE I CHANGED MY NAME, 1988 (I Never Had a Penny to My Name, So I Changed My Name.)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Richard Prince
RICHARD PRINCE BIOGRAPHY Born, Panama Canal Zone, 1949. Lives and works in New York. Selected Solo Exhibitions: 2014 “Richard Prince,” Kunsthaus Bregenz, Bregenz, Austria, July 19 – October 5, 2014 2012 “Richard Prince: 14 Paintings,” 303 Gallery, New York, NY, May 18-June 22, 2012 “Richard Prince: Four Saturdays,” Gagosian Gallery, New York, NY, October 25- November 17, 2012 2011 “Richard Prince,” Gagosian Gallery, Hong Kong, May 24 – July 16, 2011 “Richard Prince. American Prayer,” Bibliotheque National de France, Paris, France, March 29- June 26, 2011 2010 “Richard Prince T-Shirt Paintings: Hippie Punk,” Salon 94 Freemans, New York, May 15- June 26, 2010 “Richard Prince: Pre-Appropriation Works 1971-1974,” Specific Object, New York, June 9 – September 10, 2010 2009 “Richard Prince,” Skarstedt Gallery, New York, January 8 – February 28, 2009 2008 “Richard Prince,” Gagosian Gallery, New York, November 8 – December 20, 2008 “Richard Prince,” Gallerie Patrick Seguin, Paris, October 23 – November 29, 2008 “Richard Prince: Continuation,” Serpentine Gallery, London, June 26 – September 7, 2008 “Richard Prince,” Gagosian Gallery, London, June 19 – August 8, 2008 “Richard Prince: Four Blue Cowboys,” Gagosian Gallery, Rome, June 20 – August 8, 2008 “Richard Prince: Young Nurse,” Monte Clark Gallery, Vancouver, Canada, March 5 – 15, 2008 “Richard Prince: Spiritual America,” Guggenheim Museum, New York, NY, September 28 – January 9, 2008 “Richard Prince: Spiritual America,” Walker Art Center, Minneapolis, March 23 – June 15, 2008 2007 “Richard -
A Bigger Splash’
The photographic source and artistic affinities of David Hockney’s ‘A bigger splash’ by MARTIN HAMMER DAVIDOCKNEY’S H A bigger splash (Fig.32), painted fifty years down from the more visible of the two trees, coincides roughly ago this year, features naturally in the artist’s current eightieth with the far-right corner of the diving-board. birthday retrospective, reviewed on pp.413–15.1 A canonical Aesthetic detachment reflected the circumstances of the pic- work in art history, the picture owes its wide appeal to many ture’s creation. A bigger splash was completed in Berkeley, where factors: legibility and economy; the visual wit inherent in im- Hockney was teaching from April to June 1967, and not in Los plying human action although no figure is visible; its evocation Angeles. In fact, the painting was the elaboration of an idea of an idyllic sunny environment, the dream of Arcadia trans- explored in two pictures produced the previous year, The little planted from the Roman Campagna to modern California; splash and The splash (both in private collections).4 n I that sense, Hockney’s precise, well-crafted execution; reproducibility; and A bigger splash comprised a distillation of Los Angeles, realised a lingering association with the Swinging Sixties and its good with the benefit of geographical and emotional distance. The vibrations. Yet the recent recycling of Hockney’s title for that of two previous versions had been sold in Hockney’s one-man a rather dark film about a Mediterranean holiday that goes bad- show at the Landau-Alan Gallery in New York in April 1967, ly wrong, suggests not merely the continuing resonance of the organised in conjunction with his London dealer, John Kas- work, but also its availability to less upbeat interpretations.2 nI min.5 The impulse to make the larger version that spring may reinserting A bigger splash into its specific historical and cultur- therefore have had a commercial dimension, looking ahead to al moment, and by employing close reading and comparative his next show. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Robert Grosvenor | Richard Prince
Robert Grosvenor | Richard Prince 57 rue du Temple, 75004 Paris 14 April – 19 May 2018 Opening: 14 April 2018, 6 – 8 pm Galerie Max Hetzler is pleased to announce the exhibition Robert Grosvenor | Richard Prince, featuring a single work by each artist. The exhibition develops a dialogue between two artists who know each other and have great respect for the work of one another. Robert Grosvenor is known for his spacious sculptures which capture the viewer through their specifc materiality and unconventional formal language. He himself considers his sculptural work as “ideas that operate between foor and ceiling” and thus reveals an essential aspect of his practice: The Robert Grosvenor, Untitled, 2015-2017 preoccupation with the relation between an object and its surrounding as well as the efect that emerges from this connection. In the 1960s, his work was perceived in the context of Minimal Art and later Land Art. Yet, although his works display a certain minimalistic aesthetic, Grosvenor never adopted the movement’s programmatic claims. His works are rather characterised by a playful dealing with the properties of materials and the complexity of disposals while never ascribing to a particular artistic style. Often his sculptures seem to overcome the principles of physics, especially gravity. They appear massive and yet foating, both static and dynamic. His work Untitled, 2015-2017, evokes a boat, not only though its shape but also through the use of plywood and fberglass. Untitled, 2009/2010, is a monumental example of Richard Prince’s Check Paintings – a series initiated in the early 2000s. Composed of three panels, the work challenges the viewer with an eclectic visual language in which black delineated letters and colourful images collide amongst drips and swift brushstrokes of white, pale greens, blues and ochre. -
(Mis)Appropriation Art: Transformation and Attribution in the Fair Use Doctrine 15 CHI.-KENT J
(Mis)appropriation Art: Transformation and Attribution in the Fair Use Doctrine 15 CHI.-KENT J. INTELL. PROP. (forthcoming 2015) John Carl Zwisler∗ Abstract Since the adoption of transformation by the Supreme Court, the fair use doctrine has continued to judicially expand. The reliance on transformation has led judges to subjectively critique and analyze artworks in order to make a legal decision. While the transformation precedent is dominant among the circuits, it is not followed by all and gives an advantage to an appropriation artist claiming fair use of another’s copyrighted work. Transformation should no longer be a requirement in a fair use analysis concerning appropriation art, as it requires subjective interpretation of an artist’s work. Instead, the emphasis should be on the overall market effect the secondary use had on the market for the original with consideration given to how attribution to the original author aids in the fair use test. ∗ B.M., 2010 Berklee College of Music; J.D. candidate, 2016, Northeastern University School of Law. I would like to thank Professor Kara Swanson for her support and comments on early versions of this article as well as Nathanael Karl Harrison for our many discussions on the subject. I would also like to thank my parents, Yashira Agosto, and Nicholas Fede for their comments and support during the writing of this article. WORKING DRAFT—DO NOT CITE TO THIS ARTICLE 1 Table of Contents Part I Introduction ....................................................................................................................................... 3 Part II A History of Fair Use ...................................................................................................................... 8 A. Supplanting the Market of the Original Work ..................................................................................... 8 B. Four Factors Codified ......................................................................................................................... -
RICHARD PRINCE ALL AMERICAN IDOL to Be Offered in the POST-WAR & CONTEMPORARY ART - EVENING AUCTION Christie’S London, 8 King Street 14 October 2011
For Immediate Release 26 September 2011 Contact: Cristiano De Lorenzo tel. +44 7500 815 344 [email protected] RICHARD PRINCE ALL AMERICAN IDOL To Be Offered In The POST-WAR & CONTEMPORARY ART - EVENING AUCTION Christie’s London, 8 King Street 14 October 2011 London - Four outstanding works by Richard Prince (B. 1949) will be offered at Christie's London on 14 October, forming highlights of the Post-War & Contemporary Art evening auction. Spanning the course of the artist’s rich career they include Untitled (Fashion) (1983-1984), Untitled (Cowboy) (1999), Nurse Forrester’s Secret (2002-2003) and Untitled (de Kooning) (2007). Dina Amin, Head of the Sale; Director of Post War and Contemporary Art, Christie's London: ‚In October we are delighted to unite two masterpieces from the course of Richard Prince’s rich career including the iconic photograph, Untitled (Cowboy) (1999) and the painterly Nurse Forrester’s Secret (2002-2003.) Richard Prince is a master of Appropriation art. One of the first of a group of artists emerging in the 1970s including Cindy Sherman and Louise Lawler, who came to be known as the ‘pictures generation’, he has transformed some of the most enduring and iconic popular images in America. Fundamentally challenging notions of authorship, ownership and aura, he has radically reinvented the work of art, creating his own unique signature.‛ A key highlight of the Prince section is the large scale, dramatically executed Untitled (Cowboy), presenting a denim-clad lonesome American ranger (illustrated above right.) Created in 1999, this is a magnificent example of Richard Prince’s most celebrated series, exploring the American idol ‘par excellence’: the cowboy. -
Richard Prince Born in 1949, in the Panama Canal Zone, USA Biography Lives and Works in Upstate New York, USA
Richard Prince Born in 1949, in the Panama Canal Zone, USA Biography Lives and works in upstate New York, USA Solo Exhibitions 2019 'Richard Prince: Portrait', Museum of Contemporary Art Detroit, Detroit, USA 2018 'Richard Prince - Works from the Astrup Fearnley Collection', Astrup Museet, Olso, Norway 'Untitled (Cowboy)', LACMA, Los Angeles, USA 2017 'Super Group Richard Prince', Galerie Max Hetzler, Berlin, Germany 'Max Hetzler', Berlin, Germany 2016 The Douglas Blair Turnbaugh Collection (1977-1988)’, Edward Cella Art & Architecture, Los Angeles, USA Sadie Coles, London, UK 2015 'Original', Gagosian Gallery, New York, USA 'New Portraits', Blum & Poe, Tokyo, Japan 2014 'New Figures', Almine Rech Gallery, Paris, France 'It's a Free Concert', Kunsthaus Bregenz, Austria 'Canal Zone', Gagosian Gallery, New York, USA 2013 Sadie Coles, London, UK 'Monochromatic Jokes', Nahmad Contemporary, New York, USA 'Protest Paintings', Skarstedt Gallery, London, UK 'Untitled (band', Le Case d'Arte, Milan, Italy 'New Work', Jürgen Becker, Hamburg, Germany 'Cowboys', Gagosian, Beverly Hills, USA 2012 ‘Prince / Picasso’, Museo Picasso Malaga, Spain 'White Paintings', Skarstedt Gallery, New York, USA 'Four Saturdays', gagosian Gallery, New York, USA '14 Paintings', 303 Gallery, New York, USA 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris [email protected] 2011 - ‘The Fug’, Almine Rech Gallery, Brussels, Belgium Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles ‘Covering Pollock’, The Guild Hall Museum, East Hampton, USA [email protected] -
RICHARD PRINCE Born 1949, in the Panama Canal Zone
RICHARD PRINCE Born 1949, in the Panama Canal Zone (now Panama) Lives and works in Upstate New York EDUCATION Nasson College, Springvale, ME SELECTED SOLO EXHIBITIONS 2014 Canal Zone, Gagosian Gallery, New York It's a Free Concert, Kunsthaus-Bregenz, Bregenz New Figures, Almine Rech Gallery, Paris New Portraits, Gagosian Gallery, New York 2013 Monochromatic Jokes, Nahmad Contemporary, New York Protest Paintings, Skarstedt Gallery, London Untitled (band), Le Case D'Arte, Milan Richard Prince, Sadie Coles HQ, London Richard Prince: Cowboys, Gagosian Gallery, Beverly Hills 2012 White Paintings, Skarstedt Gallery, New York 4 Saturdays, Gagosian Gallery, New York 14 Paintings, 303 Gallery, New York Prince / Picasso, Museo Picasso Malaga 2011 The Fug, Almine Rech Gallery, Brussels Covering Pollock, Guild Hall, Easthampton Richard Prince, Gagosian Gallery, Hong Kong de Kooning, Gagosian Gallery, Paris Bel Air, Gagosian Residence, Bel Air American Prayer, Bibliotheque nationale de France, Paris 2010 Richard Prince, Pre-Appropriation Works, 1971 – 1974, Specific Objects, New York Tiffany Paintings, Gagosian Gallery, New York Hippie Punk, Salon 94 Bowery, New York 2008 Richard Prince: Continuation, Serpentine Gallery, London Four Blue Cowboys, Gagosian, Rome Richard Prince, Gagosian, Davies Street, London Richard Prince, Galerie Patrick Seguin, Paris Richard Prince: Canal Zone, Gagosian New York SHE: Works by Wallace Berman and Richard Prince, Michael Kohn Gallery, Los Angeles 2007 Richard Prince: Spiritual America, Solomon R. Guggenheim Museum, -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
Painters Painting Cat Bn.FH11
el cinema del CCCB Miró, l'altre, Pere Portabella Painters Painting Miró, l'altre, Pere Portabella 14 DES. 2008 1 XCÈNTRIC 14/DES/08 Entrevista amb Pere Portabella Després de Nocturn 29 (en 35 mm.) va ser quan va tenir lloc el teu pas al format de 16 mm., amb els tres curtmetratges sobre Joan Miró. Explica'ns com van sorgir. Em van demanar que col·laborés en una exposició (Miró-Altre) organitzada pel col·legi d'Arquitectes. Es tractava de donar un panorama de l'obra de Miró, abans, durant i després de la guerra (1936-1939). Denunciar la manipulació de la qual era objecte Miró pel règim durant lAny Miró declarat pel Ministeri d'Informació i Turisme el 1969 (murals pertot arreu, el volien nomenar membre Miró, l'altre, Pere Portabella de l'Acadèmia...). Així van néixer Aidez lEspagne (Miró 1937), Premis Nacionals i Miró, laltre, totes del 1969 . [...] Miró, laltre és una aproximació al treballador, al pintor, a l'home. Painters Painting Vulguis o no, Miró amb el seu nom i la seva presència desperta de seguida la imatge de l'artista tradicional com a geni creador Miró, l'altre, Pere Portabella. Espanya, 1969, 15 min, vídeo inaccessible. El film el que pretén és una presa de contacte amb Painters Painting: The New York Art Scene 1940-1972, Emile de l'home i la seva activitat. La banda sonora provoca aquest Antonio. EUA, 1972, 116 min, 35 mm distanciament irònic, que va trencant constantment amb l'altra imatge. PAINTERS PAINTING Vaig rodar precisament la realització d'un mural (en les vidrieres del Col·legi d'Arquitectes de Barcelona) perquè m'interessava el Painters painting és un gran collage documental sobre fet que després ell mateix ho destruís. -
°105 Five Forms with Three Circles °103 Red Painting, 1950 °101
THE COLLECTION OF MORTON AND BARBARA THE COLLECTION OF MORTON AND BARBARA THE COLLECTION OF MORTON AND BARBARA MANDEL, SOLD TO BENEFIT THE JACK, JOSEPH AND MANDEL, SOLD TO BENEFIT THE JACK, JOSEPH AND MANDEL, SOLD TO BENEFIT THE JACK, JOSEPH AND MORTON MANDEL FOUNDATION MORTON MANDEL FOUNDATION MORTON MANDEL FOUNDATION °101 °102 °103 JEAN DUBUFFET (1901-1985) WILLIAM BAZIOTES (1912-1963) AD REINHARDT (1913-1967) Paysage Rose The Balcony Red Painting, 1950 signed with the artist's initials and dated 'J.D. 75' signed 'Baziotes' (lower right); titled '"The signed and dated 'Reinhardt 1950' (lower right); (upper right); titled 'Paysage rose' (on the reverse) Balcony"' (on the reverse) signed again, titled and dated again 'Ad Reinhardt acrylic and paper collage on paper mounted on oil on canvas "Red Painting, 1950"' (on the backing board) canvas 36 x 41æ in. (91.4 x 106 cm.) oil on canvas, in painted artist's frame 26º x 40 in. (67 x 101.6 cm.) Painted in 1944. overall: 42Ω x 34Ω in. (108 x 87.6 cm.) Executed in 1975. Painted in 1950. $150,000-200,000 $300,000-500,000 $700,000-1,000,000 THE COLLECTION OF MORTON AND BARBARA THE COLLECTION OF MORTON AND BARBARA THE COLLECTION OF MORTON AND BARBARA MANDEL, SOLD TO BENEFIT THE JACK, JOSEPH AND MANDEL, SOLD TO BENEFIT THE JACK, JOSEPH AND MANDEL, SOLD TO BENEFIT THE JACK, JOSEPH AND MORTON MANDEL FOUNDATION MORTON MANDEL FOUNDATION MORTON MANDEL FOUNDATION °104 °105 °106 FRANK STELLA (B. 1936) BARBARA HEPWORTH (1903-1975) ADOLPH GOTTLIEB (1903-1974) Getty Tomb Five Forms with Three Circles Bastille Day titled 'GETTY TOMB' (lower left); signed with the signed with initials and dated 'B.H.