- 272
Richard Prince
Estimate
80,000 - 120,000 GBP
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Description
- Richard Prince
- Untitled (Protest Painting)
- signed and dated 1990 on the reverse
- acrylic, silkscreen, pencil and paper on canvas
- 96.7 by 46cm.; 38 by 18 1/8 in.
Provenance
Gladstone Gallery, New York
Acquired directly from the above by the present owner in 2007
Acquired directly from the above by the present owner in 2007
Condition
Colour:
The colours in the catalogue illustration are fairly accurate.
Condition:
This work is in very good condition. All surface irregularities appear to be original to the work's execution. No restoration is apparent when examined under ultra-violet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Richard Prince is the master of wry humour: an inveterate collector of jokes and gags which serve as a frequent source of inspiration for his work. The artist often gravitates towards self-deprecating jests which have an astringent edge, their purpose as a source of amusement tempered somewhat by an occasional dark note introduced through the ‘punch-line.’ Prince began to incorporate jokes into his painting in 1987 with the creation of his Monochrome Jokes, in which selected witty texts were silkscreened onto block-coloured canvases, elevating the humble jest into a subject worthy of artistic adulation. The Protest Paintings followed on naturally from these: one of Prince’s most fascinating and intriguing series.
Reminiscent in shape of the placards traditionally waved at protest demonstrations, Prince constructed his Protest Paintings with great care, attaching different segments of canvas together to form the desired shape. A combination of text and jokes were then silkscreened onto the primary canvas ground, yet, in contrast to the simple clarity of the Monochrome Joke paintings, the text adorning the Protest Paintings is jumbled together, obscured not only by the sheer weight of clashing phrases but also by expressionistic scumbles of white paint. Prince mischievously hides the punch-lines, encouraging the viewer to imbue the work with their own personal brand of humour and particular set of meanings. The Protest Paintings are truly masterful examples of Prince’s unique artistic language, a scherzo in their own right, brilliantly satirising the apparent difficulties of engaging in political activism in a late capitalist era.
Reminiscent in shape of the placards traditionally waved at protest demonstrations, Prince constructed his Protest Paintings with great care, attaching different segments of canvas together to form the desired shape. A combination of text and jokes were then silkscreened onto the primary canvas ground, yet, in contrast to the simple clarity of the Monochrome Joke paintings, the text adorning the Protest Paintings is jumbled together, obscured not only by the sheer weight of clashing phrases but also by expressionistic scumbles of white paint. Prince mischievously hides the punch-lines, encouraging the viewer to imbue the work with their own personal brand of humour and particular set of meanings. The Protest Paintings are truly masterful examples of Prince’s unique artistic language, a scherzo in their own right, brilliantly satirising the apparent difficulties of engaging in political activism in a late capitalist era.