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Richard Prince

CONSIDER, FOR A MOMENT, “Fugitive Artist: The Early Work of Richard Prince, 1974–77,” currently on view at the Neuberger Museum of Art at Purchase College, State University of New York, and organized by art historian Michael Lobel, director of the master’s program in modern and contemporary art, criticism, and theory at the college. A sharp, smart survey composed of fifty-four works, the show coruscates a range of maneuvers prior to the artist’s now-iconic rephotography of advertisements featuring fashion models, living rooms, and luxury accessories. The accompanying catalogue is elegant, and Lobel’s text is direct, thorough, and strangely revelatory, both because of and despite something immediately apparent: There are no photographic reproductions of the works, only outlines to scale, “a result of Prince’s refusal to grant permission for us to reproduce his work.”

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