New York

Richard Prince

Barbara Gladstone Gallery, Jay Gorney Modern Art

Two recent shows of painting, sculpture, and photography by Richard Prince afforded the opportunity to reflect on the fortunes of re- photography (the appropriationist strategy staked out by Prince in the late ’70s) as well as on the artist’s continuing fascination with the phantasmata of American mass culture–– what he once characterized as “social science fiction.” Prince showed only one photographic work––Untitled, 1989, the largest yet of his cowboy images, installed in Barbara Gladstone’s basement space—but this signature work provides conceptual clues to the joke paintings and, especially, to the new car-hood sculptures. By enlarging his photograph of the printed advertising image to a vast scale, Prince reveals the indeterminate, blurry texture of the original image’s grain; the close-up imprecision of detail creates an almost painterly effect of brushstrokes and pentimenti. Still

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