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Richard Prince
High Times

Richard Prince: High Times is available for online reading from July 5 through August 3 as part of the From the Library series. Published on the occasion of the eponymously titled exhibition at Gagosian, West 21st Street, New York, in 2018, the book includes reproductions of Prince’s latest paintings alongside his earlier Hippie Drawings that serve as their main sources. Integrated among these fascinating images are recent essays by the artist; reprints of historical texts by Eve Babitz, Joan Didion, and Kim Gordon; and a new essay by Rachel Kushner. Plastic inserts throughout the book house postcards, facsimiles of ephemeral materials related to 1960s culture from Prince’s personal collection, and a seven-inch recording of Prince’s 1985 composition “Loud Song.”

Richard Prince: High Times (New York: Gagosian, 2018)

Richard Prince: High Times (New York: Gagosian, 2018)

Related News

Richard Prince, Untitled (Portrait), 2019

Tour

Richard Prince
New Portraits

Saturday, February 15, 2020, 2pm
Gagosian, Beverly Hills

Join Gagosian for a tour of Richard Prince: New Portraits led by the artist’s studio manager, Matt Gaughan. Since the 1970s Prince has redefined the concepts of authorship and ownership, transforming images from mass media, advertising, and popular culture. This exhibition of new works from Prince’s New Portraits series was originally presented at the Museum of Contemporary Art Detroit from October 2019 to January 2020. To attend the free event, RSVP to bhtours@gagosian.com. Space is limited.

Richard Prince, Untitled (Portrait), 2019

Talk

Brian Wallis on Richard Prince

Thursday, November 7, 2019, 7–9pm
Museum of Contemporary Art Detroit
mocadetroit.org

Brian Wallis, a longtime scholar of Richard Prince’s work, will present a public lecture on the artist’s Portraits series, currently on view at the Museum of Contemporary Art Detroit, and its contemporary significance in the digital era of photography. The event is free to attend with museum admission.

Richard Prince, Untitled, 2017–18 © Richard Prince

Tour

Richard Prince
High Times

Saturday, June 1, 2019, 3pm
Gagosian, San Francisco

Join us for an in-depth look at Richard Prince’s new High Times paintings at Gagosian, San Francisco. Engaging with the city’s historic counterculture and the tradition of American painting, these large-scale works are laden with colorful figures layered upon the canvas. Gagosian’s Graham Dalik will discuss the origins and evolution of these paintings, their connection to Prince’s earlier Hippie Drawings, and the artist’s long-standing interest in many of the literary and cultural figures associated with the Bay Area. To attend this free event, RSVP to sftours@gagosian.com. Space is limited. 

Richard Prince, Untitled, 2017–18 © Richard Prince

Walter De Maria, The Lightning Field, 1977, long-term installation, western New Mexico. Artwork © Estate of Walter De Maria. Photo: John Cliett, courtesy Dia Art Foundation, New York, and © Estate of Walter De Maria

Light and Lightning: Wonder-Reactions at Walter De Maria's The Lightning Field

In this second installment of a two-part essay, John Elderfield resumes his investigation of Walter De Maria’s The Lightning Field (1977), focusing this time on how the hope to see lightning there has led to the work’s association with the Romantic conception of the sublime.

Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021

Now available
Gagosian Quarterly Summer 2021

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

View of the Valentino Haute Couture offices, Paris, including couture and artworks. Photo: © Gregory Copitet

Fashion & Art: Valentino Des Ateliers

Author and curator Gianluigi Ricuperati speaks to the Quarterly’s Wyatt Allgeier about his curatorial involvement in Valentino Des Ateliers, a collaborative project devised by Valentino’s creative director, Pierpaolo Piccioli, in partnership with Ricuperati. Working in a symbiotic manner, Piccioli and the Valentino Haute Couture team engaged in a dialogue with artists Joel S. Allen, Anastasia Bay, Benni Bosetto, Katrin Bremermann, Guglielmo Castelli, Maurizio Cilli, Danilo Correale, Luca Coser, Jamie Nares, Francis Offman, Andrea Respino, Wu Rui, Sofia Silva, Alessandro Teoldi, Patricia Treib, and Malte Zenses, along with the participation of Kerstin Bratsch, to arrive at a singular couture collection.

Spencer Sweeney, Self-Portrait Morning Gown, Records, 2019, oil on canvas, 66 x 42 inches (167.6 x 106.7 cm)

Shortlist
Mixtape: Spencer Sweeney

Spencer Sweeney shares a selection of songs that have punctuated his journey through the pandemic and ponders the expressive powers of a playlist.

Taryn Simon, “Folder: Broken Objects” (detail), from the series The Picture Collection, 2012, framed archival inkjet print, 47 × 62 inches (119.4 × 157.5 cm) © Taryn Simon

The New York Public Library’s Picture Collection

Joshua Chuang, the Robert B. Menschel Senior Curator of Photography at the New York Public Library, discusses the institution’s singular Picture Collection, the artist Taryn Simon’s rigorous engagement with it, and four instances of its little-known role in the history of art making.

Installation view, Nancy Rubins: Fluid Space, Gagosian, Beverly Hills, June 24–August 6, 2021.

Conclusions Never Reached: Nancy Rubins in Fluid Space

Sara Softness reflects on a new series of sculptures by Nancy Rubins, Fluid Space (2019–21), “visual poems” that hint at the invisible and the unknown.

Theaster Gates, A Song for Frankie, 2017–21, 5,000 records, DJ booth, and record player

Social Works: The Archives of Frankie Knuckles Organized by Theaster Gates

Theaster Gates, steward of the Frankie Knuckles record collection, is engaging with the late DJ and musician’s archive of records, ephemera, and personal effects. For the Quarterly’s “Social Works” supplement, guest edited by Antwaun Sargent, Gates presents a selection of Knuckles’s personal record collection. Chantala Kommanivanh, a Chicago-based artist, educator, and musician—and the records manager for Rebuild Foundation, Chicago—provides annotations, contextualizing these records’ importance and unique qualities. Ron Trent, a dear friend of Knuckles’s, speaks to the legacy evinced by these materials.

Tatiana Trouvé, April 4th, The New York Times; April 11th, South China Morning Post, China from the series From March to May, 2020, inkjet print and pencil on paper, 19 ⅞ × 26 ¾ inches (50.4 × 68 cm)

Tatiana Trouvé: From March to May

A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.

Taryn Simon, details from An American Index of the Hidden and Unfamiliar, 2007; A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11; A Cold Hole, 2018; An Occupation of Loss, 2016; and Paperwork and the Will of Capital, 2015

In Conversation
Taryn Simon and Teju Cole

This spring, as part of the Lambert Family Lecture Series at the Wexner Center for the Arts, Taryn Simon joined Teju Cole for an online conversation about her artistic practice and creative process.

Carrie Mae Weems, Lewitt’s Wall, 2006

Social Works: Carrie Mae Weems and Maya Phillips

A pairing of photography and poetry from “Social Works,” a supplement guest edited by Antwaun Sargent for the Summer 2021 issue of the Quarterly.

Gregory Corso, New York, 1986. Photo: Allen Ginsberg

Gregory Corso: A Most Dangerous Art

On the occasion of the forthcoming publication of The Golden Dot: Last Poems by Gregory Corso, Raymond Foye reflects on the poet’s enduring engagement with the human condition and explores the unique structure of this final collection.

Dennis Hopper, 1969. Photo: Columbia Pictures/Album/Alamy Stock Photo.

Dennis Hopper’s Taos Ride

Douglas Dreishpoon reflects on speaking with Hopper at the Harwood Museum of Art, Taos, New Mexico, in 2009.