- 371
Richard Prince
描述
- Richard Prince
- Untitled (Girlfriend)
- signed with the artist's initials, dated 1987 and numbered 2/2 on the backing board
- ektacolour print
- 152.4 by 101.6cm.; 60 by 40in.
來源
Acquired directly from the above by the present owner
Condition
"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."
拍品資料及來源
An exemplary figure in a generation of artists that used photographic procedures to redefine both photography and art, Prince was at the vanguard of experimentation in his use of the radically postmodern method of appropriation known as ‘re-photography’. The constant appropriation and re-presentation of magazine images highlighting consumer culture’s rapid turnover of images, lead to a juxtaposition of fiction and non-fiction and a confusion about definitions of “real”. Prince’s philosophy can be located in the context of Baudrillard’s concept of the simulacrum, which surpassed representation and reproduction to produce a synthetic “hyperreality”, “ a real without origin or reality” (Solomon-Godeau in” People Keep Asking: An Introduction”, Lisa Phillips, Exhibition Catalogue, Richard Prince, Whitney Museum of American Art, New York, 1992, p. 28.)
Prince’s ‘Girlfriends’ explore the uncanny slippage between the way people wish they could look and the reality of their appearance. In leaving every photographic fault visible and almost emphasizing the awkward lighting and colour, Prince imbues these images with a sense of melancholy and transforms the everyday into a meditation on identity and truth.
“That’s the way we want to look. To be pictured. A portrait. The Girlfriends (…) were pictures of the way I wished I could be. Maybe it’s a kind of stupid desire. Passion. Is passion what we are? Is that what we are in pictures? Is what we are in pictures almost real? Maybe it’s become the ‘most’ real thing. I mean, the picture I take has already been taken. I take it again. My picture is seamless. No cuts. No scissors. The camera as electronic scissors. It makes the magazine picture a photograph. The photograph is ‘close’. It’s real close. Close to the real thing.” (Jeff Rian in conversation with Richard Prince in Rosetta Brooks, et al., Richard Prince, London 2003, p.16)