Back

RICHARD PRINCE (b. 1949)

 
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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media. 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 challenges ideas of authorship, 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
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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media.
Inquire

Similar Artworks

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 - Seabird - gloss paint on aluminum in four panels - 87 x 48 1/2 x 1 1/4 in. ea.

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 - 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

BARBARA KRUGER - Picture/Readings - text and photograph - 16 3/8 x 39 in.

BARBARA KRUGER

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

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 - 32 x 32 in.

LAWRENCE LEE