Сергій Кабуд ( Кий ) (xyu) wrote,
Сергій Кабуд ( Кий )

cowboy marlboro by richard prince
Чому це найдорожче сучасне фот?

Це фото з телевізора, де показують рекламу:)

один фантастичний світ трансльований через другий-телебачення-виведений третім- фотографія,
в розмірі великого полотна 1.5 на 2 метри:0:

знак на знак на знак----> ги, чи хтось це впетрює?

PHILIPPE GARNER – So – Richard Prince takes the crown as the author of THE MOST EXPENSIVE PHOTOGRAPH EVER SOLD AT AUCTION. I am pleased at a professional level, that this is a Christie’s achievement. Personally, this result sets me questioning the ways in which photographic history, and especially recent photographic history, has been written, seemingly reconfigured, by a relatively narrow audience. I am not saying that readings of photography that put Prince where he is are flawed. Clearly Prince is hailed as a Contemporary Artist, a man of ideas whose chosen medium is, perhaps appropriately, photographic. His admirers are not wrong. What I question is the disproportion between the consequences of acclaim in the Contemporary Art forum as against acclaim in other contexts not fueled by testosterone $$$$$$s. What do you think?

BA – Excellent question. Given the fact that Christie’s has identified 82% of last evening’s buyers as American – testosterone does play an important role. The Prince piece, the cowboy image, is absolutely about this very mythology – the mythic, lone, powerfully independent American pioneer. Prince, of course, is really commenting on the machinery of America, the Madison Avenue advertising myth-making machinery that we export around the world and whose underlying meaning is all about what America needs to see reflected in its mirror. Prince nailed this back in the early 80s and here it is in all its hilarious glory sitting on your walls in the auction room right opposite and closest to your Honorary Chairman and Chief Auctioneer Christopher Burge and at the auction preview peaking out brilliantly so you could see it as you walked into the ‘great room’. It is also a victory for photography in that like the role the invention of photography performed at its inception liberating painting from the need to reflect what was happening in the world, Prince’s “Cowboy” releases the medium of photography from its burden to record what the camera is placed in front of. Prince’s piece is really about turning the camera inward.

Probably the buyer(s) of this work were not embracing these art historical meanings when they purchased this artwork, but they were smart enough to intuit that this work, and Prince’s work in general is important and somehow uniquely American. They also were wise enough to place it in their “BEST OF” category as they go about their business of collecting the very best seminal pieces for their “BEST OF” Contemporary collections.

PG – Excellent answer. I acknowledge that Prince’s subject matter is BIG – bigger than the overt content of the images.. He really does see a (metaphorical) bigger picture and expresses his position/attitude – call it what you will – very effectively with an exceptional economy of means. Hats off to him (Stetsons of course).

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