Installation video
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Installation view
© Richard Prince. Photo: Rob McKeever
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Installation view
Artwork © Richard Prince. Photo: Rob McKeever
Richard Prince
Graduation, 2008
Collage, inkjet, and acrylic on canvas, 72 ¾ × 52 ½ inches (185 × 133 cm)
Richard Prince
James Brown Disco Ball, 2008
Collage, inkjet, and acrylic on canvas, 100 ½ × 154 ½ inches (255.3 × 392.4 cm)
Richard Prince
Cheese & Crackers, 2008
Collage, inkjet, and acrylic on canvas, 91 ½ × 140 ¼ inches (232.4 × 356.2 cm)
Richard Prince
Back to the Garden, 2008
Collage, inkjet, and acrylic on canvas, 80 × 120 inches (203.2 × 304.8 cm)
Richard Prince
The Canal Zone, 2007
Mixed media on homosote, 48 × 82 ¾ inches (121.9 × 210.2 cm)
The Canal Zone Paintings.
I was born in the Canal Zone in 1949. Same year that George Orwell’s 1984 was published. Why the Canal Zone? My parents worked for the government, specifically for the OSS. I don’t remember much about Panama. The family moved to Braintree, Mass., twenty minutes south of Boston in 1954. The town had just built twenty-seven houses. All the same. It was called a “development.” The house was put up in like five days. It wasn’t made very well but it was brand new. Everything was “brand new.” The place we were in was called the suburbs.
“I Like Ike.”
I didn’t like Ike. And I didn’t like Mamie, his wife either. I liked TV, magazines, and movies. I liked game shows. ‘Truth Or Consequences.’ ‘Who Do You Trust.’ ‘What’s My Line.’ ‘You Bet Your Life.’ Groucho Marx hosted ‘You Bet Your Life.’ I wanted to be related to Groucho Marx.
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.
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.
The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.
Natasha Stagg on influencers, the loss of the it-girl, and the “promotional life.”
The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.
James Lawrence explores how contemporary artists have grappled with the subject of the library.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Text by Richard Hell.
