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RICHARD PRINCE I CHANGED MY NAME, 1988 (I Never Had a Penny to My Name, So I Changed My Name.)
MY ACCOUNT PREFERRED LOYALTY PROGRAM SIGN UP FOR EMAIL RECENTLY VIEWED WISH LIST MY BAG 0 FREE SHIPPING ON ORDERS OF $99 OR MORE DETAILS* Can we help you find something? WOMEN MEN UNDERWEAR FRAGRANCE HOME SALE PROJECTS 1 RICHARD PRINCE I CHANGED MY NAME, 1988 (I never had a penny to my name, so I changed my name.) Richard Prince, I Changed My Name, 1988 © Richard Prince LULU Acrylic and screen print on canvas (142.5 cm x 198.7 cm) Photographed by Willy Vanderperre at the Rubell Family Collection, Miami. Monochromatic Jokes Richard Prince’s Jokes series remains among his But if you bothered listening to one there was nothing most iconic. On the eve of a 2013 retrospective at recorded on it. New York’s Nahmad Contemporary Gallery, writer and Only white noise to greet you. kindred spirit Bill Powers riffed on the essence of He thought he might give the cassettes out at galleries like demo tapes. these works for the show’s catalog. The piece is Like musicians did at record labels to get signed. excerpted below. Within a year he began silk-screening jokes on canvas. He wasn’t a funny guy. He made them with black text on a white background, He wasn’t the life of the party. but then decided that wasn’t quite right. But most comedy isn’t about entertaining as it is about He painted over them. survival. There’s an installation shot in Spiritual America before And he wanted to live. he destroyed the paintings. He didn’t make art looking for love. -
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 -
Sigmar Polke
© Kenny Schachter / ROVE Projects LLP Published by ROVE Projects LLP, 2011 First Edition of 1000 copies ISBN 978-0-9549605-3-7 All rights reserved. No part of this catalogue may be reproduced, stored in a retrieval system or transmitted Curated by Adrian, Kai and Kenny Schachter in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise without prior permission from the publisher and artist. The artist retains copyright on all photographs, drawings, notes and text reproduced in this catalogue, except where otherwise noted. All photography except cover and pages 27, 29, 30, 32, 33, 39, 40, 48, 54, 57, 60, 75 - 79 by Caspar Stracke and Gabriela Monroy Graphic Design by Gabriela Monroy. Printed in the United Kingdom by Colourset Litho Ltd. Kenny Schachter ROVE Projects LLP Lincoln House 33-34 Hoxton Square London N1 6NN United Kingdom For all enquiries please contact: [email protected] +44 (0)7979 408 914 www.rovetv.net Kenny Schachter ROVE 2012 Stuart Gurr, Rachel Harrison, Ricci Albenda, Rob Pruitt, Brian Clarke, Zaha Hadid, Tracey Emin, Damien Hirst, Keith Tyson, Barry Reigate, Robert Chambers, Maria Pergay, Arik Levy, Martin Usborne, Tom Dixon, Vito Acconci, Franz West, George Condo, Josh Smith, Joe Bradley, Paul Thek, Sigmar Polke, William Pope.L, Marc Newson, Richard Artschwager, Peter Hujar, Misaki Kawai, Brendan Cass, Richard Woods, Donald Baechler, Keith Coventry, Lars Whelan, Hester Finch, Cain Caser, Muir Vidler, Jasper Joffe & Harry Pye, John Isaacs, Keith Coventry, Marianne Vitale, Simon English, Rod Clark, Mary Heilmann, and Adrian, Kai, Gabriel, Sage and Kenny Schachter, Ilona Rich, Kevbe Otobo, Tom Gould, Harry Rüdham, Alfie Caine, George Morony, Eleni Khouri, Tom Harwood, Ollie Wink, Antonia Osgood, Louis Norman, Matilda Wyman, Jessy Wyman, Katie Wyman, Calum Knight, Eugenie Clive-Worms, Emmanuelle Zaoui and Savannah Murphy. -
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. -
Sigmar Polke: 'A Queer Journey...'
Frontier Vol. 43, No. 11, Sep 26 –Oct 2, 2010 SIGMAR POLKE ‘A Queer Journey....’ Ritwika Misra Sigmar Polke, the painter-photographer has died of cancer on June 10. A central protagonist in post-war German art, Polke has been instrumental to bring about the laconic 'Modern Kunst' (the modem art movement from 1968) which was a tread away from the banality of genteel art. Born in 1941 at the height of world war in Lower Silesia, Polke at the age of 12 left the communist east with his family for Dusseldorf where he grew up in prosperity of the West Germany. This formative experience of crossing the borders underpinned his story of art. Satiating his initial artistic craving, being an apprentice in a stained glass factory he went on to study at the Dusseldorf Art Academy from 1961 to 1967. These years opened up a wider avenue for Polke to test his curious aesthetic intellect. The profound influence of his teacher Joseph Beuys shaped Polke's aptitude. As Robert Hughes wrote in Time, "He seems to have got two big things from Beuys: first, the ides of the artist as clown, shaman and alchemist; second, a healthy reluctance to believe in the final value of categories of style. Hence his early parodies of the sacred modes of Modernism." Even while studying at a conventional art academy Polke knew how to defy the laid out norms, imbibing a languid sarcasm in his creative output. In 1963 Polke and two fellow students, Gerhard Richter and Konrad Fischer-Leug, organized an exhibition entitled "Kapitalistischen Realismus" (Capitalist Realism). -
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, -
°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. -
Gagosian and Deitch Team up to Explore Pop and Minimalism— and Surprise, Surprise, It’S Still a Bunch of White Guys
Art World (https://news.artnet.com/art-world) Gagosian and Deitch Team Up to Explore Pop and Minimalism— and Surprise, Surprise, It’s Still a Bunch of White Guys "Pop Minimalism Minimalist Pop" at the Moore Building is a disappointment. Sarah Cascone (https://news.artnet.com/about/sarah-cascone-25), December 6, 2018 "Pop Minimalism Minimalist Pop" at the Moore Building (2018), installation view. Photo ©artists and estates, by Emily Hodes, courtesy of Gagosian. It has become an annual tradition for super-dealers Larry Gagosian and Jeffrey Deitch to join forces during Art Basel Miami Beach, hosting an exhibition in the Design District’s Moore Building. This year, the duo’s effort is “Pop Minimalism Minimalist Pop (https://gagosian.com/news/2018/11/15/pop-minimalism-exhibition-deitch-moore-building-miami/),” a reexamination of those two powerful American art currents that could have been timely, given that re-explorations of forgotten sides of the 1960s and ’70s have become a museum and market (https://news.artnet.com/market/abmb-market-report-rediscoveries-1173188) phenomenon of late. Yet it became almost immediately apparent upon walking into the Moore Building that this year’s show was not some kind of radical rethinking of history. It is just the contrary, as evidenced by the fact that this show is dominated by the expected club of canonical men, almost all of them white: Damien Hirst (http://www.artnet.com/artists/damien-hirst/), Donald Judd (http://www.artnet.com/artists/donald-judd/), Jeff Koons (http://www.artnet.com/artists/jeff-koons/), Roy Lichtenstein (http://www.artnet.com/artists/roy-lichtenstein/), Andy Warhol (http://www.artnet.com/artists/andy-warhol/), and Richard Prince (http://www.artnet.com/artists/richard-prince/), to name just a few. -
Fall/Winter 2021/22 Fall/Winter 2021/22 We Love Books
FALL/WINTER 2021/22 FALL/WINTER 2021/22 WE LOVE BOOKS. Dear art book enthusiasts, there is something very familiar to these myriad images. We Art has always led the way in undermining the conventional consume, like, and share them, we produce and manipulate media stereotypes of its time. In the project Boobs—Fe:male our own digital pictures, helping create tomorrow’s flood of Bodies in Pictorial History, we have gathered 80 selected visuals, and sometimes our heads are spinning from all that positions to show how artists’ constructions both of the content. female self and of woman as “the other” keep resituating and renegotiating femininity. The book raises vital questions of the Pictures are enchanting and disturbing, emotional and politics of the body, touching on issues of gender, ethnic sentimental, manipulative, educational, and viral. And the membership, and the vulnerability of the ailing body, while digitally networked world lets us experience events around also delving into the history of art and visual culture. the globe as though we were there only seconds after they happen: think only of the storming of the US Capitol, of the Abstraction in art opens up spaces of resonance in which new assailants’ Viking masks and the trophy pictures with which visions can be outlined and existing representations recon- they boasted of their exploits on social media. We have long sidered. Take Birgir Andrésson’s humorously laconic color lived with the awareness that we cannot trust our eyes and panels based on Icelandic nature myths, Je! Sonhouse’s that the pictures that circulate, far from merely representing Black harlequins championing a new consciousness of skin the real world, shape a new reality—to control the flow of color and identity, or, then again, Michael Müller’s so-called images is to hold power.