Richard Prince, ‘Untitled (Pen)’, 1979, Phillips

Image: 15 5/8 x 23 3/8 in. (39.7 x 59.4 cm.)
Sheet: 20 x 24 in. (50.8 x 60.9 cm.)

Signature: signed and numbered "R Prince 2/10" on the reverse

New York, Whitney Museum of American Art; Düsseldorf, Kunstverein; San Fransisco Museum of Art and Rotterdam, Museum Boymans-van Beunigen, Richard Prince, May 1992-November 1993, p. 61 (another example illustrated)
Museum für Gegenwartskunst Basel, Richard Prince, Photographs, December 2001 - February 2002, p. 11 (illustrated)

Luc Sante, Richard Prince, New York, 2003, p. 100 (illustrated)

Leo Koenig Inc., New York
Acquired from the above by the present owner

About Richard Prince

Though the quote “good artists borrow, great artists steal” is traditionally attributed to Pablo Picasso, it could well be Richard Prince’s motto. Prince mines mass-media images to redefine concepts of ownership and authorship, a practice he conceived of while working in the tear-sheets department of Time-Life. In his “Cowboys” series, for example, started in the early 1980s, he re-photographed Marlboro ads, cropping out text to generate close-ups of mythical cowboy figures. His “Nurse” works—first exhibited in 2003—were produced by scanning the covers of pulp paperbacks, transferring them to canvas, and painting over the prints. An avid collector of American subcultures, Prince has also turned his eye to biker chicks, Borscht Belt jokes, and Willem de Kooning canvases. “I don’t see any difference now between what I collect and what I make,” he says. “It’s become the same.”

American, b. 1949, Panama Canal Zone, based in New York, New York