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Richard PrinceRichard Prince, The Greeting Card Jokes #3: Canada Dry, Foil-Stamped Print, 20112011
2011
$4,741.67
£3,500
€4,091.18
CA$6,544.22
A$7,330.97
CHF 3,813.02
MX$89,422.72
NOK 48,544.76
SEK 45,774.25
DKK 30,535.42
About the Item
Richard Prince, The Greeting Card Jokes #3: Canada Dry, Foil-Stamped Print, 2011
Foil-stamped print, on heavy wove paper, folded.
As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK).
From a limited edition of 100.
Edition 91/100
6.25 x 8.5 in (15.9 x 21.6 cm)
Notes: Text image from Richard Prince's iconic Jokes series. Signed and numbered by the artist in ink on interior of card.
Looking like a classic Hallmark card, this greeting card features a joke handwritten by the artist: "My father was never home, he was always away drinking booze. He saw a sign saying DRINK CANADA DRY. So he went up there."
Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas.
Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man, muscle cars, biker chicks, off-color jokes, gag cartoons, and pulp fiction.
- Creator:Richard Prince (1949, American)
- Creation Year:2011
- Dimensions:Height: 6.26 in (15.9 cm)Width: 8.51 in (21.6 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Sold in mint condition, as issued.
- Gallery Location:London, GB
- Reference Number:1stDibs: LU160828660132
Richard Prince
Richard Prince (American, b.1949) is a painter and photographer, best known as a pioneer of Appropriation Art. Born in the Panama Canal Zone, Prince grew up in Massachusetts and moved to New York in 1977, where he prepared magazine clippings for Time-Life, spurring his interest in advertising and consumer imagery. He began creating works based on various pop culture images taken from magazines and newspapers, often re-photographing and manipulating the images in his own works. Considered by many the father of Appropriation Art, the majority of his works includes scandalous subject matter and has provoked controversy around issues of copyright in the art world. His famous Cowboys series of 1980s photographs, for example, was taken from Marlboro ad campaigns. In the mid-1980s, Prince shifted his interest from images to text, evident in his Jokes series, displaying appropriated jokes in ironic works. From his home in Upstate New York, Prince created his late Nurse Paintings series, inspired by pulp romance novels, as well as his own photographs of everyday rural and suburban life. He acquired an abandoned farmhouse near his home in 2001, which he turned into an installation site he called Second House, installing the interior with his sculptures, paintings, and his own books; the structure has been purchased by the Guggenheim Museum in New York, but was struck by lightning and destroyed in 2007. In the fall of that year, Prince’s work was the subject of a major retrospective at the Guggenheim Museum. Prince currently lives and works in Upstate New York.
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Foil-stamped print, on heavy wove paper, folded.
As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK).
From a limited edition of 100.
Edition 91/100
6.25 x 8.5 in (15.9 x 21.6 cm)
Notes: Text image from Richard Prince's iconic Jokes series. Signed and numbered by the artist in ink on interior of card.
Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...
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Signed and numbered by artist in ink on interior of card.
From a limited edition of 100.
Edition 91/100
6.25 x 8.5 in (15.9 x 21.6 cm)
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