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Richard Prince

Richard Prince, Self Portrait, 1973–2013 Chromogenic print, 40 × 30 inches (101.6 × 76.2 cm), edition of 2

Richard Prince, Self Portrait, 1973–2013

Chromogenic print, 40 × 30 inches (101.6 × 76.2 cm), edition of 2

Richard Prince, Untitled (Joke), 2011 Inkjet on canvas, 58 × 78 ¾ inches (147.3 × 200 cm)© Richard Prince, photo by Rob McKeever

Richard Prince, Untitled (Joke), 2011

Inkjet on canvas, 58 × 78 ¾ inches (147.3 × 200 cm)
© Richard Prince, photo by Rob McKeever

Richard Prince, Graduation, 2008 Collage, inkjet, and acrylic on canvas, 72 ¾ × 52 ½ inches (185 × 133 cm)Photo by Rob McKeever

Richard Prince, Graduation, 2008

Collage, inkjet, and acrylic on canvas, 72 ¾ × 52 ½ inches (185 × 133 cm)
Photo by Rob McKeever

Richard Prince, Untitled (Girlfriend), 1993 Ektacolor print, 8 × 5 ⅜ inches (20.3 × 13.7 cm), edition of 2

Richard Prince, Untitled (Girlfriend), 1993

Ektacolor print, 8 × 5 ⅜ inches (20.3 × 13.7 cm), edition of 2

Richard Prince, Untitled (Cowboy), 1999 Ektacolor print, 23 ½ × 19 ½ inches (59.7 × 49.5 cm), edition of 2

Richard Prince, Untitled (Cowboy), 1999

Ektacolor print, 23 ½ × 19 ½ inches (59.7 × 49.5 cm), edition of 2

Richard Prince, Untitled (Cowboy), 1999 Ektacolor photograph, 59 ⅛ × 83 ⅛ inches (150.2 × 211.1 cm), edition of 2

Richard Prince, Untitled (Cowboy), 1999

Ektacolor photograph, 59 ⅛ × 83 ⅛ inches (150.2 × 211.1 cm), edition of 2

Richard Prince, Untitled (Three women with earrings), 1980 3 Ektacolor photographs, 20 × 24 inches each (50.8 × 61 cm)

Richard Prince, Untitled (Three women with earrings), 1980

3 Ektacolor photographs, 20 × 24 inches each (50.8 × 61 cm)

Richard Prince, Untitled (de Kooning), 2005 Inkjet and acrylic on canvas, 67 × 84 inches (170.2 × 213.4 cm)

Richard Prince, Untitled (de Kooning), 2005

Inkjet and acrylic on canvas, 67 × 84 inches (170.2 × 213.4 cm)

Richard Prince, Untitled, 2009 Collage and acrylic on canvas, 75 ½ × 58 ½ inches (191.8 × 148.6 cm)

Richard Prince, Untitled, 2009

Collage and acrylic on canvas, 75 ½ × 58 ½ inches (191.8 × 148.6 cm)

Richard Prince, Nine Yards, 2008 Carhood, basketball hoop, plywood, and bondo, 42 ½ × 31 × 56 inches (108 × 78.7 × 142.2 cm)

Richard Prince, Nine Yards, 2008

Carhood, basketball hoop, plywood, and bondo, 42 ½ × 31 × 56 inches (108 × 78.7 × 142.2 cm)

Richard Prince, Girlfriend, 1995 Ektacolor print, 45 × 29 ½ inches (114.3 × 74.9 cm)

Richard Prince, Girlfriend, 1995

Ektacolor print, 45 × 29 ½ inches (114.3 × 74.9 cm)

Richard Prince Elvis, 2007 Steel, plywood and bondo 63 × 76 × 182 inches (160 × 193 × 462.3 cm) Installation at Gagosian Gallery Britannia Street, London

Richard Prince Elvis, 2007

Steel, plywood and bondo 63 × 76 × 182 inches (160 × 193 × 462.3 cm) Installation at Gagosian Gallery Britannia Street, London

Richard Prince, Untitled (Cowboys), 1992 Ektacolor photograph, 40 × 27 ¾ inches (101.6 × 70.5 cm), edition of 2

Richard Prince, Untitled (Cowboys), 1992

Ektacolor photograph, 40 × 27 ¾ inches (101.6 × 70.5 cm), edition of 2

About

Mining images from mass media, advertising and entertainment since the late 1970s, Richard Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push–pull allure of pulp fiction and soft porn, producing such unlikely icons as the highly coveted Nurse paintings.

Richard Prince was born in 1949 in the Panama Canal Zone. Prince’s work has been the subject of major solo exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art, California (1993); “Fotos, Schilderijen, Objecten,” Museum Boymans–Van Beuningen, Rotterdam (1993); Haus der Kunst / Süddeutsche Zeitung, Munich (1996); Museum Haus Lange / Museum Haus Esters, Germany (1997); “4x4,” MAK Center for Art and Architecture, Vienna (2000); “Upstate,” MAK Center for Art and Architecture, Schindler House, Los Angeles (2000); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zurich, Switzerland; and Kunstmuseum Wolfsburg, Germany); “American Dream, Collecting Richard Prince for 27 Years,” Rubell Family Collection, Miami (2004); “Canaries in the Coal Mine,” Astrup Fearnley Museum, Oslo (2006); “The Early Works,” Neuberger Museum of Art, New York (2007); Solomon R. Guggenheim Museum, New York (2007, traveled to Walker Art Center, Minneapolis; and Serpentine Gallery, London, through 2008); “American Prayer,” Bibliothèque nationale de France, Paris (2011); “Prince/Picasso,” Picasso Museum, Spain (2012); and “It’s a Free Concert,” Kunsthaus Bregenz, Austria (2014). Prince’s works are in the public collections of the Metropolitan Museum of Art, New York; Modern Art Museum of Fort Worth, Texas; Museum of Fine Arts Collection, Boston; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.

Prince currently lives and works in New York.

Richard Prince

Photo: Gordon M. Grant/The New York Times/Redux

Richard Prince, Untitled (Original Cowboy), 2013, chromogenic print, in frame, 70 ⅛ × 100 ⅛ × 2 inches (178.1 × 254.3 × 5.1 cm) © Richard Prince, courtesy Richard Prince Studio

Picture Books: Percival Everett and Brandon Taylor

The second installment of Picture Books, an imprint organized by Emma Cline and Gagosian, presents author Percival Everett’s novella Grand Canyon, Inc. alongside Untitled (Original Cowboy), a photograph by Richard Prince. In celebration of the publication, Everett met with author Brandon Taylor to discuss the novella, the role of history in the writing process, and the similarity in methodologies for science and literature.

The cover of Richard Prince: Cowboy, edited by Robert M. Rubin and published by Fulton Ryder and DelMonico Books | Prestel, New York, in 2020.

Richard Prince: Cowboy

On the occasion of the publication of Richard Prince: Cowboy, a major monograph on the artist’s preoccupation with the mythic American West, Lucy Sante tracks the archetype through mass media, advertising, and the art of Richard Prince to illuminate the cowboy’s enduring appeal.

Featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Now available
Gagosian Quarterly Summer 2020

The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Richard Prince, Untitled (Portrait), 2019.

The Right Time

Natasha Stagg on influencers, the loss of the it-girl, and the “promotional life.”

The cover of the Spring 2020 edition of the Gagosian Quarterly magazine. A Cindy Sherman photograph of herself dressed as a clown against a rainbow background.

Now available
Gagosian Quarterly Spring 2020

The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.

Anselm Kiefer, Volkszählung (Census), 1991, steel, lead, glass, peas, and photographs, 163 ⅜ × 224 ½ × 315 inches (4.1 × 5.7 × 8 m)/

Cast of Characters

James Lawrence explores how contemporary artists have grappled with the subject of the library.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.

Richard Prince, Untitled, 2016–18.

Richard Prince

Text by Richard Hell.

Fairs, Events & Announcements

Installation view, Titus Kaphar: New Alte̲rs: Reworking Devotion, Gagosian, Grosvenor Hill, London, March 17–May 15, 2022. Artwork © Titus Kaphar. Photo: Prudence Cuming Associates Ltd

Visit

London Gallery Weekend
Damien Hirst, Cristina Iglesias, Titus Kaphar, Richard Prince

May 13–15, 2022
London
londongalleryweekend.art

As part of London Gallery Weekend, Gagosian will have extended hours at all London locations, including the Gagosian Shop in Burlington Arcade, where visitors can browse Richard Prince artist’s books, posters, and other merchandise as part of his Shop takeover. Visitors can view the exhibitions Cristina Iglesias at Davies Street, which opens on Saturday, May 14; Titus Kaphar: New Alte̲rs: Reworking Devotion at Grosvenor Hill, before it closes on May 15; and Damien Hirst: Natural History at Britannia Street.

A range of activities will be offered, including exhibition tours and drop-in drawing hours for visitors of all ages, in addition to treats from Connaught Patisserie and Treats ClubIn its second year, London Gallery Weekend is a free annual event featuring over 150 of the city’s leading contemporary art galleries coming together to celebrate culture and creativity.

Installation view, Titus Kaphar: New Alte̲rs: Reworking Devotion, Gagosian, Grosvenor Hill, London, March 17–May 15, 2022. Artwork © Titus Kaphar. Photo: Prudence Cuming Associates Ltd

Richard Prince takeover at the Gagosian Shop, London, 2022. Photo: Prudence Cuming Associates

Shop Takeover

Richard Prince

May 10–June 8, 2022
Gagosian Shop, London

Richard Prince is taking over the Gagosian Shop in the historic Burlington Arcade in London on the occasion of the exhibition Richard Prince: Hoods at Gagosian, New York. Included in the takeover are the artist’s books, posters, and other merchandise, with a special selection from the Katz + Dogg line created by Prince in collaboration with Darren Romanelli. Richard Prince: Hoods, 1988–2013, an artist’s book documenting a series of paintings made using the hoods of muscle cars as supports, is also available in advance of its official release by Fulton Ryder in June 2022. Upstairs, on the first floor, the presentation includes a recent painting (2021) and a grouping of High Times drawings (2019) that have never before been exhibited.

Richard Prince takeover at the Gagosian Shop, London, 2022. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (November), 2020 (detail) © Rachel Whiteread. Photo: Prudence Cuming Associates Ltd.

Art Fair

Zona Maco 2022

February 9–13, 2022, booth B115
Centro Citibanamex, Mexico City
www.zsonamaco.com

Gagosian is pleased to announce its return to Zona Maco México Arte Contemporáneo for the first time since 2018; significantly, this is also the gallery’s first in-person art fair of 2022. Gagosian is presenting a specially curated selection of dynamic paintings, sculptures, and works on paper by iconic figures long associated with the gallery, juxtaposed with works by key contemporary artists. Many of the featured artists are being represented at Zona Maco for the first time.

Rachel Whiteread, Untitled (November), 2020 (detail) © Rachel Whiteread. Photo: Prudence Cuming Associates Ltd.

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Museum Exhibitions

Jennifer Guidi, Seeking Hearts (Black MT, Pink Sand, Pink CS, Pink Ground), 2021 © Jennifer Guidi. Photo: Brica Wilcox

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Artists Inspired by Music
Interscope Reimagined

January 30–February 13, 2022
Los Angeles County Museum of Art
www.lacma.org

To mark the thirtieth anniversary of Interscope Records, the company invited artists to select albums and songs from Interscope’s groundbreaking catalogue and fostered exchanges between artists and musicians to generate resonant pairings. The exhibition, which includes more than fifty works, brings an intergenerational group of visual artists into dialogue with iconic musicians from the last three decades, providing a fresh perspective on influential music for the present moment. Work by John Currin, Jennifer Guidi, Damien Hirst, Titus Kaphar, Takashi Murakami, Richard Prince, Ed Ruscha, and Anna Weyant is included.

Jennifer Guidi, Seeking Hearts (Black MT, Pink Sand, Pink CS, Pink Ground), 2021 © Jennifer Guidi. Photo: Brica Wilcox

Installation view, The 80s: Art of the Eighties, Albertina Modern, Vienna, October 17, 2021–February 13, 2022. Artwork, left to right: © Jiří Georg Dokoupil, © Hubert Schmalix, © Albert Oehlen. Photo: © Ana Paula Franco/Albertina, Wien 2021

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The 80s
Art of the Eighties

October 17, 2021–February 13, 2022
Albertina Modern, Vienna
www.albertina.at

Some consider the 1980s to be the most important decade for the art of our age. For the first time, art was no longer determined by a dominant style, such as abstraction or Pop, but rather embodied an unprecedented stylistic pluralism that was a hallmark of postmodernism. This exhibition, curated by Albertina Modern director Angela Stief, examines the variety of artistic approaches and strategies that defined the era. Work by Jean-Michel Basquiat, Albert Oehlen, Richard Prince, Andy Warhol, and Franz West is included.

Installation view, The 80s: Art of the Eighties, Albertina Modern, Vienna, October 17, 2021–February 13, 2022. Artwork, left to right: © Jiří Georg Dokoupil, © Hubert Schmalix, © Albert Oehlen. Photo: © Ana Paula Franco/Albertina, Wien 2021

Balthus, Paysage de Monte Calvello, 1978 © Balthus

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Découpage
A Labour of Love

July 1–October 17, 2021
Tarmak22, Gstaad Saanen Airport, Switzerland
www.tarmak22.com

Découpage presents more than 150 cut-paper works made in the nineteenth and twentieth century by Swiss masters. Tracing the origins and development of the paper cutout, the exhibition honors the craft’s history and its Swiss heritage while creating a dialogue with a selection of contemporary artworks brought to Gstaad by collaborators including Gagosian. Work by Balthus, Richard Prince, and Setsuko is included.

Balthus, Paysage de Monte Calvello, 1978 © Balthus

Gregory Crewdson, Back Lot, 2018–19 © Gregory Crewdson

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Road Rage

June 25–September 20, 2021
The Church, Sag Harbor, New York
www.sagharborchurch.org

Road Rage brings together works by twenty-four artists who use the car as subject or material. Dating from the 1960s to the present, the paintings, photographs, sculptures, drawings, and animated film on display consider automobiles as tools of travel, consumption, and commerce, and as icons of wealth, class, leisure, power, destruction, and pollution. Work by Gregory Crewdson and Richard Prince is included.

Gregory Crewdson, Back Lot, 2018–19 © Gregory Crewdson

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Press

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