Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Prince has been making T-Shirt paintings since 1987, dating to the year of his first monochromatic joke painting. Counter to the ordered up, pre-stretched monochromes, these play as their poor stepbrother, and their brilliant antidote. Working class, white trash, 'action painting' versions that counter the pristine paintings made with the high-brow in mind. Prince blithely flips the screen print from Factory to T-Shirt shop. Making art is rarely a struggle for him." Jeanne Greenberg, excerpted from Richard Prince: Hippie Punk in Richard Prince: T-Shirt Paintings.
Created by the artist Richard Prince (born 1949) in parallel to a major survey show, Hoods is both a monograph and an artist’s book focused on a celebrated collection of painted sculptures made from 1988 through 2013. Archival photographs in the book document the evolution of the Hoods, cataloging both the artworks and Richard Prince’s mythical “Body Shop” and the destroyed “Second House” in Upstate New York. In an interview with photographer Larry Clark, Prince stated that “With the Hoods, I wanted to paint something that was already painted.” From this simple act of conceptual appropriation, Prince evolved a massive body of work that engages deeply with the vernacular design tradition of the customized American muscle car. Taken all together, the sculptures, the upstate Body Shop and Prince’s own photo-documentation evoke both ambiguous nostalgia as well as feelings of absence and loss, perhaps best expressed in a sampling of the artwork titles: Almost Grown; American Place; Folksongs; Vanishing Point.
Richard Prince (born 1949) continues his revival of the Fulton Ryder imprint with an artist’s book that is both a monograph of new artworks and an expansive written statement on art history, personal biography and the contemporary impulse to create self-images. At first glance, the New Paintings are in a similar vein as Prince's New Portraits. However, unlike that series, the New Paintings focuses on portraits of painters painting on Instagram, very often with back to the camera, facing away from the viewer. The resulting images are ambiguously manipulated; the series is self-described as an act of “social science fiction.” The image captions, integral to the artwork, contain a dense “Bird Talk” text, including ambiguous autobiography and art history commentary. Joan Katz offers some explanation in a comment found in a New Painting, stating: “Deep Nostalgia. Legitimate Doubts. Safeguards to prevent misuse. Digital imitation. Resemblance without manipulations. Skilled impersonations. Staged illusions. Imitation of Life (the sequel). It’s difficult to know if it’s new or just another resurrection. #post_place.”
Published by Holzwarth Publications. Text by Richard Prince.
While Richard Prince (born 1949) is most often discussed for his strategies as an appropriation artist—from the Marlboro cowboys in the 1980s to the Instagram portraits today—it is his own work as a painter that stands at the center of his approach: starting with paintings of jokes and cartoons, following up with, among other things, nurses and cowboys taken from the covers of dime novels, and freewheeling riffs on Picasso and de Kooning.
For his extensive new series Super Group, Prince uses objects loaded with meaning: the inner sleeves of vinyl records, which he collages on canvas and then overpaints with band names, abstract washes and funny figures. Richard Prince: Super Group presents 51 works in this new series, engaging with the question of how we define ourselves by our choices of objects, images and music.
Published by Kunsthaus Bregenz. Edited by Yilmaz Dziewior. Text by Paul Black, Yilmaz Dziewior, Richard Prince, Kerstin Stakemeier.
Richard Prince's (born 1949) pieces in It's a Free Concert demonstrate the artist's extraordinary range of media usage. This publication focuses on Prince's series of appropriations, while also serving as an overview of the renowned contemporary artist's oeuvre to date.
PUBLISHER Kunsthaus Bregenz
BOOK FORMAT Hardcover, 9.25 x 12 in. / 256 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 3/24/2015 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 187
PRODUCT DETAILS ISBN 9783863355869FLAT40 List Price: $65.00 CDN $75.00
Celebrated for his appropriation of advertising images and photographs during the early 1970s, Richard Prince (born 1949) began in the 1980s to explore the relationship between image and language, pairing jokes from books and magazines with referential and non-referential imagery. In the 1990s, his Joke paintings transformed from rigidly composed works into freefloating combinations of jokes and stripped-down layered imagery. The White Paintings are raw and energetic in comparison to his earlier work. Here, handwritten and printed jokes mingle with gestural marks, silkscreened imagery and graphic fragments, all strewn across a white-pigmented backdrop. Prince’s hand is present in these works, with their painterly white texture, spirited whorls and handwritten elements. In this series, he uses appropriation in a new way, as he pays homage to great American abstract painters such as Cy Twombly and Robert Rauschenberg. This volume reproduces a selection from this series.
BOOK FORMAT Paperback, 8.5 x 12 in. / 55 pgs / 27 color / 1 bw.
PUBLISHING STATUS Pub Date 1/31/2014 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 189
PRODUCT DETAILS ISBN 9780988930001FLAT40 List Price: $30.00 CDN $35.00
Published by JRP|Ringier. Edited by Fabienne Stephan. Text by Jeanne Greenberg.
Richard Prince (born 1949) has a connoisseur's eye for American iconography, and an artist's knack for transforming that iconography into art forms: car hoods, signed photographs, adverts--and T-shirts. Casually stretched over frames to poke fun at the grandeur of the tautly stretched canvas, and messily painted or silkscreened, the T-shirts are more intimate in scale than much of Prince's recent work. They also offer a kind of mini-survey of his career, ranging in subject from jokes to abstractions to images of hippies or rock icons like Jimi Hendrix (one imagines the artist packing the T-shirts in a valise like Duchamp as a miniaturized retrospective). One series, done for the artist's daughter, tread less familiar terrain, with images of animal and flower drawings. Presented together in this volume for the first time, they affirm Prince's ongoing appropriation of the American vernacular.
Four of Richard Prince's Cowboy prints are reproduced in brilliant colour at the centre of this large-scale publication. The double spreads of luminous American landscapes are re-photographed, cropped and re- appropriated images of original Marlboro Country iconography. For Gordon Burn, in his accompanying essay, Prince presents a new way of reading these images. He examines how the artist has deconstructed the efforts of lighting, costume and make-up used in the production of hyper-masculine cowboys. Burn dissects the implications of nostalgia for a commodified, advertised Americana and discusses Prince's interest in multiplicityand the uncanny.
One of the most innovative and influential artists of our time, Richard Prince can be variously described as a painter, photographer, sculptor and collector. His work makes use of an eclectic range of approaches to explore his fascination with Americana, pop culture, art, literature and language. This volume, published to accompany his 2008 exhibition at London's Serpentine Gallery, is envisioned as a continuation of Prince's major 2007 retrospective at the Solomon R. Guggenheim Museum in New York--albeit in a smaller and more personal setting. Prince leads the book off with an essay that was first published in Art in America in 1988. Entitled "Bringing It All Back Home," this text serves as the introduction for what is essentially an autonomous artist's book filled with photographs of his works and installations. An end section on different paper features additional texts and a list of exhibitions.
Within this children's coloring book for grown-ups, readers will find 72 messy, funny, sometimes risqué black-and-white line drawings of people, monsters, robots and flowers. Is there a nude, bearded guy with peace symbols for eyes? Sure. A mummy? Yes again. How about a stick figure with ears that grow up over the top of his head or a female nude with a crude black pirate patch over one demonic eye? Check, and check again. For lovers of Richard Prince, one of the foremost American artists of the Pictures generation, or for anyone with an off-beat sense of humor, this is a must-have artist's book, produced on the occasion of Prince's 2008 Serpentine Gallery exhibition. As Roberta Smith wrote in her 2007 review of Prince's major mid-career survey at the Guggenheim Museum in New York, "Practically every last American could find something familiar, if usually a bit unsettling, in his work." Adults--and children too.
Published by Walther König/Bywater Bros. Ed./Presentation House.
This nicely produced, staple-bound pamphlet is the first in a new series of artist-designed publications, scheduled to come out three times per year. This first issue contains a selection of works by Richard Prince, the influential New York artist who first created controversy in the 1970s by working with appropriated imagery--then a quite radical concept. Weighing in at only 46 pages, this slim volume nevertheless contains representative samples of all of Prince's most famous work: biker girls, nurses, sculptures, paintings, tattoo pornography, jokes, and other assorted incendiary images. The next issue of Lynn Valley will be designed by Cologne artist Johannes Wohnseifer.
Published by Guggenheim Museum Publications. Text by Nancy Spector, Glenn O'Brien, Jack Bankowsky.
For 30 years now, the American artist Richard Prince has been considered one of the most forward-thinking and innovative artists in the world. In 1977, his deceptively simple act of re-photographing advertising images from The New York Times Magazine and presenting them as his own ushered in an entirely new, critical approach to making art--one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation, and he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility, with images stemming from the Marlboro Man, muscle cars, biker chicks, off-color jokes, gag cartoons and pulp fiction novels, among many other sources. Organized by the Solomon R. Guggenheim Museum, New York, this major traveling retrospective brings together Prince's photographs, paintings, sculptures and works on paper in the most comprehensive examination of his work to date. While previous examinations of Prince's work have emphasized its catalytic role in Postmodernist criticism, this volume also focuses on the work's iconography and how it registers prevalent themes in our social landscape, including a fascination with rebellion, an obsession with fame and a preoccupation with the tawdry and the illicit. Highlighting key examples from the all the major series of Prince's oeuvre, this fully illustrated volume also debuts works created specifically for the exhibition. It features a critical overview by the Guggenheim Museum's Nancy Spector and an essay by Artforum Editor-at-Large Jack Bankowsky, which discusses Prince's environmental installations, including the Spiritual America Gallery, his First House and Second House, and his Library in Upstate New York. In addition, cultural commentator Glenn O'Brien contributes a series of interviews with popular culture initiators like Annie Proulx, Phyllis Diller, John Waters, Michael Ovitz, Kim Gordon and Robert Mankoff, among many others, providing a composite portrait of Prince's themes alongside an insider's view of the formation of mass-cultural taste.
In conveying the seriousness with which he sees and uses his lighthearted material, Richard Prince has said, "Jokes and cartoons are part of any mainstream magazine. Especially magazines like The New Yorker or Playboy. They're right up there with the editorial and advertisements and table of contents and letters to the editors. They're part of the layout, part of the Îsights' and Îgags.' Sometimes they're political, sometimes they just make fun of everyday life. Once in a while they drive people to protest and storm foreign embassies and kill people. Prince has always recycled found materials from American popular culture, most often images from advertisements and magazine photography. He re-photographs, silkscreens, overpaints, frames, enlarges or composes collages, playing with the material's somehow empty meaning. Citation, deflection, appropriation: every treatment is explored and played with. Among these works, as among the pages of the magazines, jokes and cartoons occupy an important place. This book, conceived by the artist, assembles for the first time the raw material of the creation of his "Joke Paintings"--not just the well-known works, but never-before-seen examples from his personal collection, his unpublished manuscripts and the original cartoons and jokes themselves.
Published by Hatje Cantz. Text by Richard Brautigan.
There are no smoking cowboys swinging their lassoes or bare-breasted blondes on heavy motorcycles in this droll collection of highly expressive drawings and watercolors. Au contraire, the inventive shapes and joyful colors recall children's drawings or paintings by the mentally ill. Half-figures of indeterminate gender with staring eyes, big ears and frizzy hair smirk challengingly at the viewer, offering an inventory of possibilities, many of which later find their way into Prince's joke paintings of the same period. This extraordinary little book presents these funny yet sinister works to a larger public for the first time, and allows readers to discover a new side of Richard Prince's oeuvre.
Published by JRP|Ringier. Artwork by Richard Prince.
Richard Prince presents in Man his subversive and ironic choices of images of men and masculinity. Spanning the entire spectrum of artistic media, Prince creates paintings, object art, drawing, photographs and collages. Materials from literary texts as well as cartoons and often crude, sexually- and male-oriented jokes find their way into his art, thus further allowing the artist to cross conventional borders. Within this book we see Prince's American cowboy photographs (one of his preferred motifs in which the text is often altered), his self-portraits, his paintings of jokes and texts, his altered ads and his sketches (such as the one of Snow White and the seven dwarfs in compromising positions). This well-designed and reproduced publication, featuring nearly 90 color images, is a true artist's book, conceived by Prince himself.
BOOK FORMAT Paperback, 7.75 x 11 in. / 88 pgs / 88 color.
PUBLISHING STATUS Pub Date 3/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 75
PRODUCT DETAILS ISBN 9782940271597TRADE List Price: $35.00 CDN $40.00
Published by Hatje Cantz. Edited by Shaun Caley Regen.
Perfectly beautiful yet strangely faceless, hundreds of interchangeable fashion models and bare-breasted biker chicks find themselves reincarnated in the artwork of Richard Prince. Prince recycles these American (male) pop culture fantasies from found materials, most often advertising images and magazine layouts which he rephotographs, repaints or overpaints, arranges in collages, or breaks down into fragments. Images of women representing various spheres of trivial culture, marketing iconography like the Marlboro Man, and figures borrowed from chauvinist cartoons are central motifs in his art. Without comment, Prince cites and duplicates them in supposedly defunct role clichªs that remain stubbornly present even today. Women goes even further, presenting a diverse yet decidedly thematic selection of appropriations chosen by the artist himself and ranging across his body of work. From bad sexist jokes to the covers of books written by female authors, from rockin' out naked biker chicks to Kate Moss, from a rephotographed Untitled Film Still to penny-novel nurses--these are Richard Prince's Women.
Published by Walther König, Köln. Edited by Sadie Coles.
In American English, artist and book collector Richard Prince contrasts his collection of American first edition books with their British counterparts, photographing the pairings in individual staged environments. A must for the bibliophile and a special kind of cultural history from an artist's point of view.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 6 x 8.75 in. / 134 pgs / 124 color
PUBLISHING STATUS Pub Date 8/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9783883757179SDNR30 List Price: $35.00 CDN $40.00
Published by Hatje Cantz. Essays by Bernard Mendes Bürgi, Beatrix Ruf and Bruce Hainley.
Silk Cut smokes, high-end pens and watches, jewelry dangling into cleavage, the Marlboro Man, the very young Brooke Shields in that movie still, bare-chested blondes on bikes--this is the stuff of Richard Prince's photographs. Sexist jokes, Playboy magazine cartoons, and grafittied doodles are the stuff of his paintings. Or rather, all of these icons of mass culture are the materials that Prince recycles and processes in order to make his own artworks. Re-photographed, fragmented, layered, and copied down, their original format irreversibly if subtly altered, they are transformed into works of high art. By appropriating a reality artificially staged by the media, Prince assesses and catalogues everyday life in America through the cool gaze of an archivist. At the same time, he returns a piece of life to these much abused types: the Marlboro Man rides across the prairie free of consumerist underpinnings. Conceived of and designed by the artist himself, this large-format, two volume publication is the most ambitious presentation of Prince's work to date. One book is devoted to paintings, the other to photographs, and an accompanying booklet offers a radical essay by Bruce Hainley as well as a complete biography and selected bibliography.
Published by Skarstedt Fine Art. With selected writings by Richard Prince.
By manipulating the means and products of mass media, Richard Prince gives his viewers a glimpse of American culture as directed toward middle-class consumers. His appropriations of living rooms, watches, and sophisticated couples and individuals turn the informative nature of the original advertisement into cultural indicators of borrowed and fictional representation. This book assembles together the photographs that initiated Prince's exploration of "authorship" and "the original," ideas that were prevalent in the critical discourse of the late 70s, and are perhaps even more so today.
PUBLISHER Skarstedt Fine Art
BOOK FORMAT Hardcover, 12 x 8 in. / 47 pgs / 51 color
PUBLISHING STATUS Pub Date 2/2/2002 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9780970909008TRADE List Price: $30.00 CDN $35.00