Back

RICHARD PRINCE (b. 1949)

 
Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media. Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media.
Untitled (Portrait)(Boy)201465 3/4 x 48 3/4 in. inkjet on canvas
Provenance
with Gagosian Gallery, New York;
Private Collection, New York, 2014, acquired from above
Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.

In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media.
Inquire

Similar Artworks

Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

TOM WESSELMANN

Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.

JULIAN SCHNABEL

Gary Hume's "Seabird" (2006) is a bold, innovative work that shows his talent in seamlessly forming a geometric composition with his signature gloss-paint on aluminum technique. This piece is bright, playful, and an excellent example of Hume's work.
<br>
<br>Gary Hume was an early member of the "YBA" or Young British Artist group.  Hume participated, alongside Damien Hirst, in the seminal 1988 London exhibition "Freeze."  Elected to the Royal Academy in 2001, Hume was also nominated for the 1996 Turner Prize. The artist was also subject of a critically acclaimed 2013 retrospective exhibition at the Tate Britain.  
<br>
<br>Hume's work is widely represented in Museum collections worldwide, including the Metropolitan Museum of Art in New York, The Philadelphia Museum of Art, and the Tate in London.

GARY HUME

ALEXANDER CALDER - Woman with Square Umbrella - wood - 19 x 6 x 6 in.

ALEXANDER CALDER

THEASTER GATES - Lathe Black Box - wood, glass and lathe - 50 1/4 x 53 x 6 7/8 in.

THEASTER GATES

ROBERT MAPPLETHORPE - Orchids - dye-transfer print - 22 1/2 x 21 1/2 in.

ROBERT MAPPLETHORPE

PETER SHELTON - onelongsleeve - metal - 29 1/2 x 47 3/4 x 10 1/2 in.

PETER SHELTON

PETER SHELTON - Whitebagbone - mixed media - 86 x 22 x 18 in.

PETER SHELTON

HASSEL SMITH - Arezzo Revisited - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

MARTIN CREED - Work No. 2147 - acrylic on canvas - 16 x 20 in.

MARTIN CREED

ALEXANDER CALDER - Compositions with Faces and Forms - ink on paper - 15 1/2 x 23 in. ea.

ALEXANDER CALDER

KENNETH NOLAND - Winds 82-23 - painted monotype on handmade paper - 86 1/2 x 31 3/8 in.

KENNETH NOLAND

KENNETH NOLAND - Winds 82-08 - painted monotype on handmade paper - 86 x 32 in.

KENNETH NOLAND

SYLVIA PLIMACK MANGOLD - Gray Winter Glaze - oil on canvas - 30 x 40 in.

SYLVIA PLIMACK MANGOLD

Sandra Mendelsohn Rubin - Valley View: Late Summer - oil on polyester - 4 x 7 1/8 in.

Sandra Mendelsohn Rubin

PETER SHELTON - whitebeard - 41 x 7 x 6 1/2 in.

PETER SHELTON

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

LOUISE BOURGEOIS - Untitled - glass hologram - 10 3/4 x 13 3/4 in.

LOUISE BOURGEOIS

ERIC JON HOLSWADE - Bird's Eye View - oil, flashe & gouache on cardboard - 65 x 78 in.

ERIC JON HOLSWADE

Provenance: 
<br>Imago Galleries, CA
<br>Private collection, CA (acquired from above)

STEVEN MCCALLUM

Conflating, collapsing, augmenting historical and bodily narratives through a satirical point of view.

EDGAR SERRANO

STEPHEN P. CURRY - Cardinal (Pomegranates) - oil on canvas - 39 1/4 x 50 in.

STEPHEN P. CURRY

Ann Craven - Red Crescent Moon - oil painting - 14 1/8 x 14 1/8 in.

Ann Craven

CHINA ADAMS - Glass Box #25 - artist's burdensome possessions - 15 x 15 1/2 x 15 1/2 in.

CHINA ADAMS

WILLIAM WEGMAN - Marigolds, Petunias, Meimaraners, etc. - photograph on paper - 6 3/4 x 13 in.

WILLIAM WEGMAN

ROGER THOMAS - Grenelle Arm Chairs - Black Lacquer Finish and Gold Cord on Muslin with Original Drawings; Unique - 38 x 24 x 24 in.

ROGER THOMAS

LAWRENCE LEE - There by Flight - India Ink, graphite, tea stains, pen and watercolor on paper - 32 x 32 in.

LAWRENCE LEE