For 30 years now, the American artist Richard Prince has been considered one of the most forward-thinking and innovative artists in the world. In 1977, his deceptively simple act of re-photographing advertising images from The New York Times Magazine and presenting them as his own ushered in an entirely new, critical approach to making art--one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation, and he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility, with images stemming from the Marlboro Man, muscle cars, biker chicks, off-color jokes, gag cartoons and pulp fiction novels, among many other sources. Organized by the Solomon R. Guggenheim Museum, New York, this major traveling retrospective brings together Prince's photographs, paintings, sculptures and works on paper in the most comprehensive examination of his work to date. While previous examinations of Prince's work have emphasized its catalytic role in Postmodernist criticism, this volume also focuses on the work's iconography and how it registers prevalent themes in our social landscape, including a fascination with rebellion, an obsession with fame and a preoccupation with the tawdry and the illicit. Highlighting key examples from the all the major series of Prince's oeuvre, this fully illustrated volume also debuts works created specifically for the exhibition. It features a critical overview by the Guggenheim Museum's Nancy Spector and an essay by Artforum Editor-at-Large Jack Bankowsky, which discusses Prince's environmental installations, including the Spiritual America Gallery, his First House and Second House, and his Library in Upstate New York. In addition, cultural commentator Glenn O'Brien contributes a series of interviews with popular culture initiators like Annie Proulx, Phyllis Diller, John Waters, Michael Ovitz, Kim Gordon and Robert Mankoff, among many others, providing a composite portrait of Prince's themes alongside an insider's view of the formation of mass-cultural taste.

Richard Prince

Arts & Photography

Bankowsky, Jack

O´Brien, Glenn

Individual Artists

Guggenheim Museum

Pop Life: Art in a Material World

et.al.

Tate Publishing

Rachel Harrison (born 1966) is one of the most exciting artists making sculptures today. Her assemblages of found and constructed objects carry a provisional quality, a wry sense of humor and an all-embracing intelligence. Playing with materials ranging from plinth, pedestal and corrugated cardboard to plastic ketchup bottles, insulated travel mugs and Barbie's wheelchair-bound friend, Harrison creates colorful, canny, thought-provoking constructions that are worthy peers of Rauschenberg's Combines. This volume, the most comprehensive monograph of Harrison's sculpture, video and painting to date, provides documentation of the past 15 years of her work and includes essays by Tom Eccles, David Joselit, Iwona Blazwick and Jack Bankowsky, plus contributions from Paul Chan, John Kelsey, Allan McCollum, Lucy Raven, Amy Sillman and Steven Stern.

Rachel Harrison: Museum With Walls

Joselit, David

Stern, Steven

Kelsey, John

Blazwick, Iwona

Chan, Paul

Eccles, Tom

McCollum, Allan

Raven, Lucy

Sillman, Amy

History & Criticism

Center for Curatorial Studies, Bard College/Whitechapel Gallery/Portikus

Founded in 2004, Guyton\Walker--the artist duo of Wade Guyton (born 1972) and Kelley Walker (born 1969)--is a partnership that has remained virtually without parallel in contemporary art, in that both artists work and exhibit individually. This volume examines all facets of their output, both singly and together. Essays by Sam Pulitzer and Quinn Latimer discuss individual authorship and joint techniques, while Jack Bankowsky’s text examines Guyton\Walker within a broad art-historical context. Yilmaz Dziewior’s introductory essay outlines the distinctive concept of the Kunsthaus Bregenz exhibition this book accompanies, and addresses the relationship between individual and joint artistic practices. Each section on the three artistic positions features photographs of the installation in Kunsthaus Bregenz.

Wade Guyton, GuytonWalker, Kelley Walker

Latimer, Quinn

Pulitzer, Sam

Collections, Catalogs & Exhibitions

Kunsthaus Bregenz

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