paris

Richard Prince

Ghislaine Hussenot

Richard Prince’s recent works effect a kind of postcritical involution. Momentarily abandoning the stupefying rhetoric of immediacy that characterized his earlier photographic appropriations, he is now reinscribing his work in the well-lit field of modern paradigms: by referencing the monochrome as he did in his previous “joke” paintings, by reintroducing collage and silk-screen superimpositions, and above all by coating some of his appropriations with a thin layer of white paint that is simultaneously on top of and underneath the imagery.

The lower portions of these pictures are relegated to jokes in the form of captions. Composed of elements that might almost be recycled from Prince’s earlier works—cartoons, ads, images, and clippings from magazines—these superimpositions suggest the walls of demolished apartments that register traces of previous life as layers of peeling paper and paint.

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