PRINT December 2005

Jack Bankowsky

1 RICHARD PRINCE Healthy contrariness all but dictates that the self-respecting critic pass over Prince this year—save for a higher call to rescue a bumper crop of cross-pollinating projects from a distracting (if overdue) spike in the artist’s market. Consider the sublime sellout at Gagosian Beverly Hills (scratch the surface of these Rothkoesque ciphers and discover the customized—and cashed!—checks below the oil and angst). Consider, too, the self-anthologizing miniretrospective at Barbara Gladstone in New York concurrent with the artist’s reprise of his near-mythical 1983 Spiritual America, featuring a very grown-up Ms. Shields shot by trashmeister Sauto D’Orazio. Consider a practice in which muscle cars are impossibly elegant post-Minimal sculptures; a tract-style house “up behind the Catskills” enters the collection of the Guggenheim; and the rumor of a library in a

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