new-york

Richard Prince

Baskerville + Watson

The recognition of a shift in our view of reality from a somatic spatial model to a specular field transmitted via media representation began to take form in the work of certain West Coast-based artists about a decade ago, and since then, through his use of the advertising image, Richard Prince has become its most didactic exponent. Like the majority of advertisements, the Marlboro-cigarette image which is the source of Prince’s recent body of photographs, “Cowboys,” is designed for the casual glance that cruises the street or the pages of a magazine, so that the information is received by scanning rather than by looking into the image. It is no great insight to point out that the visual potency of the Marlboro billboards in particular draws on the formal and temporal codes of the cinema screen and the Western epic. The chain of significations that tie the product to the image of the cowboy

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