ガゴシアン・ギャラリーさんのインスタグラム写真 - (ガゴシアン・ギャラリーInstagram)「Two exhibitions by Richard Prince open at Gagosian in London on October 5. The Grosvenor Hill gallery features “Early Photography, 1977–87,” while “The Entertainers” occupies the Davies Street gallery.   The exhibitions feature many of Prince’s iconic cowboy, girlfriend, and advertisement photographs, some of which have not previously been exhibited in the city. Collecting, chronicling, and repurposing examples of discomfiting mainstream humor alongside images from a variety of mass media, Prince chronicles the intersection of America’s vernaculars and subcultures in the construction of its national identity. In 1977, he began using a process of “rephotography” to appropriate shots from advertising and lifestyle press, redefining the concepts of authorship and originality—an approach he would later extend to include social media. Follow the link in our bio to learn more. __________ #RichardPrince #Gagosian Richard Prince, "Untitled (Make-up)," 1982–84 © Richard Prince」9月30日 2時15分 - gagosian

ガゴシアン・ギャラリーのインスタグラム(gagosian) - 9月30日 02時15分


Two exhibitions by Richard Prince open at Gagosian in London on October 5. The Grosvenor Hill gallery features “Early Photography, 1977–87,” while “The Entertainers” occupies the Davies Street gallery.

The exhibitions feature many of Prince’s iconic cowboy, girlfriend, and advertisement photographs, some of which have not previously been exhibited in the city. Collecting, chronicling, and repurposing examples of discomfiting mainstream humor alongside images from a variety of mass media, Prince chronicles the intersection of America’s vernaculars and subcultures in the construction of its national identity. In 1977, he began using a process of “rephotography” to appropriate shots from advertising and lifestyle press, redefining the concepts of authorship and originality—an approach he would later extend to include social media. Follow the link in our bio to learn more.
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#RichardPrince #Gagosian
Richard Prince, "Untitled (Make-up)," 1982–84 © Richard Prince


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