{"id":376,"date":"2021-11-19T09:22:53","date_gmt":"2021-11-19T09:22:53","guid":{"rendered":"https:\/\/afmuseet.dev10.dekodes.no\/en\/artists\/richard-prince\/"},"modified":"2023-01-19T10:40:59","modified_gmt":"2023-01-19T10:40:59","slug":"richard-prince","status":"publish","type":"artist","link":"https:\/\/afmuseet.dev10.dekodes.no\/en\/artist\/richard-prince\/","title":{"rendered":"Richard Prince"},"content":{"rendered":"\n\t\t<div class=\"wp-block-afm-block-artwork-hero alignfull alignfull wp-block-afm-block-artwork-hero has-background has-neutral-50-background-color\">\n\t\t\t<div class=\"afm-block-artwork-hero__blocks\">\n\t\t\t\t\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n\t\n\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t\n\t<\/div>\n\t\n\n\t\n\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t<h2 class=\"wp-block-post-title\">Richard Prince<\/h2>\n\t\t\n\t\t<div class=\"wp-block-group artwork-meta is-layout-flow wp-block-group-is-layout-flow\">\n\t\t\t<div class=\"wp-block-afm-post-meta\"><h3 class=\"wp-block-afm-label\">Date of birth<\/h3> 1949<\/div>\n\t\t\t\n\t\t\t<div class=\"wp-block-afm-post-meta\"><h3 class=\"wp-block-afm-label\">Country<\/h3> Panama Canal Zone<\/div>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t\n<\/div>\n\n\n\t\t\t<\/div>\n\t\t<\/div>\n\n\n<p>Richard Prince\u2019s formative years occurred during the heyday of Pop art and the breaking through of the more analytical Conceptual art. Both starting points permeate his artistic production. His series \u201cCowboys\u201d (1980\u20131992), for instance, in which he rephotographed images from the famous Marlboro advertising campaign, is indebted to Pop art\u2019s critical interest in consumerist culture.\n\nHowever, \u201cCowboys\u201d can be seen not only as a cynical representation of reality, but also, in the critical tradition of Conceptual art, as a piercing inquiry into the ethos of the American vernacular, and even as the existential gesture of a figurative and realist artist. Such pieces sealed Prince\u2019s reputation as a leading manipulator of social and cultural symbols.    \n\nEven though Prince\u2019s art, especially his use of photography, is conceptually and intellectually anchored in the critical discourse of its time \u2013 loaded with references to simulacra and the death of the author, as championed by figures such as Debord, Baudrillard and Gilles Deleuze \u2013 his practice cannot be reduced to a philosophical or sociological commitment. Rather, it creates an intelligent dialogue between critical thought and formalistic transformation: Prince\u2019s Marlboro man (the \u201ccowboy\u201d) offers a contemporary reworking of the readymade, while his series \u201cLiving rooms,\u201d \u201cWomen\u201d and \u201cGangs\u201d carry the tautological logic and attitude of Conceptual art, and the transfer of cartoons to canvas made in the series \u201cJokes\u201d is a Pop procedure, while the monochrome backgrounds of the text-based works in that series look back to a longstanding tradition of Modernism. \n\nPrince\u2019s paintings, as opposed to photographic works, are neither preconceived nor harmonious, linear, stable nor continuous. Instead, they explore discrepancy and displacement, contradictions and misunderstandings (much like reality in general). We could even speak of the absurdity of these works, the zone where irreconcilable elements on the pictorial surface interrupt the meaning. Here, the spectator is confronted by a confusing and enigmatic frame of reference, akin to Alain Robbe-Grillet\u2019s ruminations on the challenging frame of vision in which one \u201cperceives much, but understands little.\u201d Indeed, Prince\u2019s figurative paintings are about reconstructing reality, or fabricating parallel realities.   \n\nRepetition in different forms plays an important role in Prince\u2019s narrative structures. This is most obvious in his rephotographed appropriations, where repetitions introduce a \u201cdouble,\u201d creating confusion and frustration, as developed in canonical texts by Kafka or Nabokov. In the paintings, the same jokes or cartoons are often used within a series, but each time they are slightly transformed. \u201cReprise\u201d is perhaps a more appropriate term than repetition for these works, since the images are integrated into Prince\u2019s system before their function as appropriation takes hold. According to Kierkegaard, repetition and reprise are part of the same, but divergent, act \u2013 the former being identified with what has been and the latter with moving ahead. Reprise can thus be considered a modernist concept pertaining to the liberty of the artist and the notion of progress. Thus it is in this sense that Prince the painter emerges as an artist not merely engaged with the calculated appropriation of images, signs or objects (and the critical baggage that comes with these devices), but one equally involved with the development of a genuine sensibility related to touch. The Car Hoods paintings, for example \u2013 moulds taken from vintage car bonnets and washed with color \u2013 are real objects, but also painterly abstractions. They are embedded with connotations of energy and power, at once indexing machinery and the legacy of Abstract Expressionism.<\/p>\n\n","protected":false},"featured_media":0,"template":"","meta":{"afm_hide_title":false,"afm_artist_date_of_birth":"1949","afm_artist_date_of_death":"","afm_artist_birth_place":"Panama Canal Zone","_afm_post_new_title":""},"class_list":["post-376","artist","type-artist","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.9 (Yoast SEO v26.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Richard Prince - Astrup Fearnley Museet<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/afmuseet.dev10.dekodes.no\/en\/artists\/richard-prince\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Richard Prince\" \/>\n<meta property=\"og:description\" content=\"Richard Prince\u2019s formative years occurred during the heyday of Pop art and the breaking through of the more analytical Conceptual art. 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