Robert Gober, Felix Gonzalez-Torres, Jeff Koons, Richard Prince, Charles Ray, Cindy Sherman

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ROBERT GOBER, FELIX GONZALEZ-TORRES, JEFF KOONS, RICHARD PRINCE, CHARLES RAY, CINDY SHERMAN Richard Prince, Untitled (Cowboy), 1998 GOOD MORNING AMERICA 16.10.15 – 31.01.16 Good Morning America casts light on how, in the late 1970s and the 1980s, an important group of American artists invented a new form of artistic language, often referred to as ‘Appropriation art’, by borrowing existing photographs, objects, aesthetics, ideas and clichés found in American art and consumer culture. The exhibition includes works by Cindy Sherman, Richard Prince, Jeff Koons, Robert Gober, Felix Gonzalez-Torres and Charles Ray. Taking the readymade and collage as their starting point, and influenced by Pop art and Conceptualism, these artists undertook a critical examination of the structures of the new media and issues in American consumer society at that time, such as the representation and construction of identity, gender roles, sexuality and sexual orientation. Seen together, their works present fragmented images of American life from the 1970s to the 1990s, pointing towards the spectacle of consumer culture in general, at the same time as revealing their own personal engagement with American culture in particular. Astrup Fearnley Museet is proud to hold one of the world’s most comprehensive collections of this generation who certainly is amongst today’s most significant artists. With nearly 80 works from the museum’s collection, the exhibition shows the museum’s in-depth collection of American art since the late 1970s, and today has the unique opportunity to present an exhibition of its own collection with works spanning 35 years. Curators: Gunnar B. Kvaran and Therese Möllenhoff Press inquiries: Ida Moen, Press Contact M: +47 986 30 007 | T: +47 22 93 60 43 E-post: [email protected] Astrup Fearnley Museet is grateful for the Astrup Fearnley Museet substantial support it receives from Stiftelsen Strandpromenaden 2, 0252 Oslo Thomas Fearnley, Heddy and Nils Astrup, and tel: 0047 22 93 60 60 Astrup Fearnley AS [email protected] | www.afmuseet.no Sponsors:.

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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.
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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
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Artist: Period/Style: Patron: Material/Technique: Form
TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument.
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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.
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[Brand × Artist] Collaborations
FROM HIGH ART TO HIGH TOPS : THE IMPACT OF [ BRAND × ARTIST ] COLLABORATIONS WORD S A NYA FIRESTO N E On the world-map of today’s creative brands, we increasingly find Margiela. That art is being called upon as branding’s new muse, and collaborations with art — contemporary or otherwise — where × signifies a drive to create something more complex than that which marks the spot: can be achieved through fashion. It is logical that this nouveau artistic collaborative wave hits hard Don Perignon × Jeff Koons today, an epoch when magic is no longer required to see almost Perrier × Andy Warhol anything and everything thanks to the world’s new beloved fairy Supreme × Damien Hirst godmother: #socialmedia. With the advent of digital platforms comes Raf Simons × Sterling Ruby the collective impulse to display not only a style, but perhaps more COMME des GARÇONS × Ai Weiwei importantly, lifestyle. Look at any creative company’s Instagram and Lacoste × Zaha Hadid we find not only pictures of its gadgets and gizmos, but a cultivated Opening Ceremony × René Magritte existence around them — tastes and sensibilities, filtered through adidas × Jeremy Scott “Keith Harring” specific lenses: urban landscapes, graffiti, perfectly frothed lattes, Pharell’s hat, Kanye’s pout, and various other facades of society And so the formula of [Brand by Artist] is written, etched onto that visually amalgamate to project a brand’s metaphysical culture skateboards and sneakers, from H&M to Hermés, on Perignon to in time and space. Perrier, strutting down catwalks and stacking grocery aisles at a prolific It is no wonder then why brands are increasingly seduced by art; rate.
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(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 .........................................................................................................................
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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.
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PICASSO: Mosqueteros
G A G O S I A N G A L L E R Y February 14, 2009 PRESS RELEASE GAGOSIAN GALLERY 522 WEST 21ST STREET T. 212.741.1717 NEW YORK, NY 10011 F. 212.741.0006 GALLERY HOURS: Mon – Sat: 10:00am– 6:00pm PICASSO: Mosqueteros Thursday, March 26 – Saturday, June 6, 2009 Opening reception: Thursday, March 26th, from 6 to 8pm I enjoy myself to no end inventing these stories. I spend hour after hour while I draw, observing my creatures and thinking about the mad things they're up to. --Pablo Picasso, 1968 “Picasso: Mosqueteros” is the first exhibition in the United States to focus on the late paintings since “Picasso: The Last Years: 1963-1973” at the Solomon R. Guggenheim Museum in 1984. Organized around a large group of important, rarely seen works from the collection of Bernard Ruiz-Picasso, as well as works from The Museum of Modern Art, New York, the Museo Picasso Málaga and other private collections, “Picasso: Mosqueteros” aims to expand the ongoing inquiry regarding the context, subjects, and sources of the artist’s late work. Building on new research into the artist’s late life through the presentation of selected paintings and prints spanning 1962-1972, the exhibition suggests how the portrayal of the aged Picasso, bound to the past in his life and painting, has obscured the highly innovative and contemporary nature of the late work. The tertulia, an Iberian tradition of gregarious social gatherings with literary or artistic overtones, played a major part in Picasso’s everyday life, even after he moved to the relative seclusion of Notre-Dame-de-Vie in the 1960s.
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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]
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Jeff Koons Loses French Lawsuit Over ‘Slavish Copy’ of Naf Naf Advert US Artist Ordered to Pay Damages and Costs, but Fair D’Hiver Sculpture Escapes Seizure
AiA Art News-service Jeff Koons loses French lawsuit over ‘slavish copy’ of Naf Naf advert US artist ordered to pay damages and costs, but Fair d’Hiver sculpture escapes seizure ANNA SANSOM 9th November 2018 13:58 GMT Fait D'Hiver (1988) by Jeff Koons, on show at the Liebighaus museum on in Frankfurt in 2012 © Ralph Orlowski/Getty Images Jeff Koons has been found guilty of plagiarising a 1980s advertising campaign for French fashion brand Naf Naf to make his porcelain sculpture Fait d'Hiver (1988), which is part of his Banality series. The high court of Paris has ordered the artist’s company Jeff Koons LLC, and the Centre Pompidou, which exhibited the piece in a 2014 Koons exhibition, to pay Franck Davidovici, the creative director of Naf Naf, €135,000 in damages and interest, and €70,000 in trial costs. The court ruled that Jeff Koons LLC had counterfeited a 1985 Naf Naf advert, featuring a pig with a barrel of rum tied round its neck rescuing a girl in the snow, by using its “original elements”. Davidovici had sued for copyright infringement, with his lawyer, Jean Aittouares of Ox Avocats, describing the Koons sculpture as a “slavish copy” of the advert. “The court dismisses the argument of freedom of artistic expression, considering that Koons had clearly sought, by retaking the first work, to make 'the economy of a creative work',” Ox Avocats posted in a short online statement. The court also ordered Koons' company to pay €11,000 to Davidovici for reproducing an image of the sculpture on Koons' website, and €2,000 to Flammarion, the French publishing house, for reproducing an image of the work in the Centre Pompidou's exhibition catalogue.
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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,
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°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.
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