Cariou v. Prince

Filing 92

JOINT APPENDIX, Vol. 2, on behalf of Appellant Lawrence Gagosian, Gagosian Gallery, Inc. and Richard Prince, FILED. Service date 10/26/2011 by email, CM/ECF. [430293] [11-1197]--[Edited 10/27/2011 by HT]

11-1197-cv
United States Court of Appeals
for the

Second Circuit
PATRICK CARIOU,
Plaintiff-Appellee,
– v. –
RICHARD PRINCE,
Defendant-Appellant,
GAGOSIAN GALLERY, INC., LAWRENCE GAGOSIAN,
Defendants-Appellants.
––––––––––––––––––––––––––––––
ON APPEAL FROM THE UNITED STATES DISTRICT COURT
FOR THE SOUTHERN DISTRICT OF NEW YORK

JOINT APPENDIX
Volume 2 of 9 (Pages A-281 to A-550)
HOLLIS ANNE GONERKA BART
CHAYA WEINBERG-BRODT
DARA G. HAMMERMAN
AZMINA N. JASANI
WITHERS BERGMAN LLP
Attorneys for Defendants-Appellants Gagosian
Gallery, Inc. and Lawrence Gagosian
430 Park Avenue, 10th Floor
New York, New York 10022
[phone]
DANIEL J. BROOKS
ERIC A. BODEN
SCHNADER HARRISON SEGAL & LEWIS LLP
Attorneys for Plaintiff-Appellee
140 Broadway, Suite 3100
New York, New York 10005
[phone]

JONATHAN D. SCHILLER
GEORGE F. CARPINELLO
JOSHUA I. SCHILLER
BOIES, SCHILLER & FLEXNER LLP
Attorneys for Defendant-Appellant
Richard Prince
575 Lexington Avenue, 7th Floor
New York, New York 10022
[phone]

i
TABLE OF CONTENTS
Page
Docket Entries............................................................

A-1

Amended Complaint, dated January 14, 2009...........

A-16

Answer to Amended Complaint of Defendant
Richard Prince, dated March 3, 2009 ....................

A-32

Answer to Amended Complaint of Defendants
Gagosian Gallery, Inc. and Lawrence Gagosian,
dated March 3, 2009 ..............................................

A-41

Plaintiff’s Initial Disclosure, dated April 30, 2009 ....

A-53

Scheduling Order, dated June 19, 2009 .....................

A-58

Memo Endorsed Letter, dated January 27, 2010 .......

A-60

Order of the Honorable Deborah A. Batts, dated
March 19, 2010......................................................

A-61

Memo Endorsed Letter, dated April 21, 2010............

A-62

Memo Endorsed Letter, dated May 3, 2010 ..............

A-63

Notice of Motion by Plaintiff for Summary
Judgment, dated May 14, 2010..............................

A-64

Plaintiff’s Statement Pursuant to Local Rule 56.1,
dated May 14, 2010 ...............................................

A-66

Declaration of Daniel J. Brooks, for Plaintiff, in
Support of Motion for Summary Judgment, dated
May 7, 2010 ...........................................................

A-75

Exhibit A to Brooks Declaration Amended Complaint, dated January 14, 2009
(Reproduced herein at pp. A-16-A-31)

ii
Page
Exhibit B to Brooks Declaration Answer to Amended Complaint of Defendant
Richard Prince, dated March 3, 2009
(Reproduced herein at pp. A-32-A-40)
Exhibit C to Brooks Declaration Answer to Amended Complaint of Defendants
Gagosian Gallery, Inc. and Lawrence Gagosian,
dated March 3, 2009
(Reproduced herein at pp. A-41-A-52)
Exhibit D to Brooks Declaration Excerpts from Deposition Transcript of Patrick
Cariou, dated January 12, 2010 .............................

A-84

Exhibit E to Brooks Declaration Excerpts from Videotaped Deposition Transcript
of Richard Prince, dated October 6, 2009..............

A-117

Exhibit F to Brooks Declaration Excerpts from Videotaped Deposition Transcript
of Lawrence Gagosian, dated October 8, 2009......

A-167

Exhibit G to Brooks Declaration Excerpts from Deposition Transcript of Gagosian
Gallery, Inc. by Louise Neri, dated
December 17, 2009 ................................................

A-185

Exhibit H to Brooks Declaration Excerpts from Deposition Transcript of Gagosian
Gallery, Inc. by Alison McDonald, dated
December 17, 2009 ................................................

A-189

Exhibit I to Brooks Declaration Excerpts from Deposition Transcript of John
Olson, dated November 16, 2009 ..........................

A-198

iii
Page
Exhibit J to Brooks Declaration Excerpts from Deposition Transcript of
Christiane Celle, dated January 26, 2009 ..............

A-203

Exhibit K to Brooks Declaration Certificate of Copyright Registration for Book
entitled Yes Rasta ...................................................

A-227

Exhibit L to Brooks Declaration Cover of Yes Rasta .................................................

A-229

Exhibit L-1 to Brooks Declaration Cover of Yes Rasta .................................................

A-230

Exhibit L-2 to Brooks Declaration Colophon Page of Yes Rasta ..................................

A-231

Exhibit M to Brooks Declaration Cover of the Catalogue published by Gagosian
Gallery ...................................................................

A-232

Exhibit M-1 to Brooks Declaration Front, Back and Spine of the Canal Zone
Catalogue ...............................................................

A-233

Exhibit M-2 to Brooks Declaration Title Page of the Canal Zone Catalogue ................

A-236

Exhibit M-3 to Brooks Declaration List of Works depicted in the Canal Zone
Catalogue ...............................................................

A-237

Exhibit M-4 to Brooks Declaration Colophon Page of Canal Zone Catalogue .............

A-240

Exhibit N to Brooks Declaration 22 Paintings depicted in the Canal Zone
Catalogue ...............................................................

A-241

iv
Page
Exhibit O to Brooks Declaration Seven additional Prince Paintings depicted in
Canal Zone Catalogue ..........................................

A-263

Exhibit P to Brooks Declaration Stipulation between Plaintiff and Gagosian
Defendants, dated January 26, 2010 ......................

A-270

Exhibit Q to Brooks Declaration Pages from Prince’s Website, including
Comments entitled “Practicing Without A
License” .................................................................

A-279

Exhibit R to Brooks Declaration Interview of Prince in Artforum, March 2003 .......

A-281

Exhibit S to Brooks Declaration June 3, 2008 E-mail ..............................................

A-284

Exhibit T to Brooks Declaration Interview of Prince in Interview Magazine ..........

A-285

Exhibit U to Brooks Declaration Comparison Document .........................................

A-298

Exhibit V to Brooks Declaration Prince Painting entitled “Canal Zone 2007” ........

A-325

Exhibit V-1 to Brooks Declaration Canal Zone 2007....................................................

A-326

Exhibit W to Brooks Declaration The Art Newspaper ...............................................

A-327

Exhibit X to Brooks Declaration Exhibit 32 to Prince Deposition.............................

A-329

Exhibit Y to Brooks Declaration Printout from Gagosian Gallery Website...............

A-331

v
Page
Exhibit Z to Brooks Declaration Inserts to Canal Zone Catalogue............................

A-349

Exhibit AA to Brooks Declaration Blown-up Details from Prince Paintings ...............

A-352

Exhibit BB to Brooks Declaration Landscape ..............................................................

A-354

Exhibit CC to Brooks Declaration Photographs ...........................................................

A-355

Exhibit DD to Brooks Declaration “Pitch” from Movie written by Prince...................

A-357

Exhibit EE to Brooks Declaration E-mail from Louise Neri to Betsy Biscone, dated
October 7, 2008 .....................................................

A-359

Exhibit FF to Brooks Declaration Printout from Gagosian Gallery Website...............

A-361

Exhibit GG to Brooks Declaration Newspaper Advertisements ...................................

A-364

Exhibit HH to Brooks Declaration E-mails from Alison McDonald to Darlina
Goldak, dated October 2, 2008 ..............................

A-369

Exhibit II to Brooks Declaration E-mail from Darlina Goldak to Nicole Heck,
dated September 25, 2008......................................

A-370

Exhibit JJ to Brooks Declaration Announcement Card ..............................................

A-371

Exhibit KK to Brooks Declaration E-mails from Andie Trainer to Jessica Arisohn,
dated December 5, 2008 ........................................

A-373

vi
Page
Exhibit LL to Brooks Declaration Invitation to opening Dinner for the Canal Zone
Exhibition ..............................................................

A-377

Exhibit MM to Brooks Declaration E-mails from Tom Duncan to Anita Foden, dated
September 6, 2008 .................................................

A-378

Exhibit NN to Brooks Declaration E-mails from Karen Ho to Vanessa Riding and
Rysia Murphy, dated October 28, 2008 .................

A-380

Exhibit OO to Brooks Declaration E-mail from Meredith Dunn to Sam Orlofsky and
Others at the Gagosian Gallery, dated
October 23, 2008 ...................................................

A-386

Exhibit PP to Brooks Declaration E-mail from Vanessa Riding to Barbara Wilhelm
Dwek, dated October 23, 2008 ..............................

A-387

Exhibit QQ to Brooks Declaration Invitation List ........................................................

A-388

Exhibit RR to Brooks Declaration Cariou’s Cease and Desist Letter, dated
December 11, 2008 ................................................

A-395

Exhibit SS to Brooks Declaration E-mails from Patrick Cariou to Christiane Celle,
dated August 28, 2008, with Certified Translation

A-397

Declaration of Eric Doeringer, for Plaintiff, in
Support of Motion for Summary Judgment, dated
May 6, 2010 ...........................................................

A-400

Exhibit A to Doeringer Declaration Letter from Peter J. Toren to Eric Doeringer,
dated November 10, 2005......................................

A-403

vii
Page
Exhibit B to Doeringer Declaration Letter from Eric Doeringer to Peter J. Toren,
undated...................................................................

A-405

Exhibit C to Doeringer Declaration Letter from Peter J. Toren to Eric Doeringer,
dated November 28, 2005......................................

A-406

Memorandum of Law in Support of Plaintiff’s
Motion for Summary Judgment, dated
May 14, 2010 .........................................................

A-408

Notice of Motion by Defendants for Summary
Judgment, dated May 14, 2010..............................

A-438

Affidavit of Hollis Gonerka Bart, for Defendants
Gagosian Gallery, Inc. and Lawrence Gagosian,
in Support of Motion for Summary Judgment,
sworn to May 14, 2010 ..........................................

A-440

Exhibit A to Bart Affidavit The Tate Collection’s Glossary defining the Term
Appropriation Art...................................................

A-446

Exhibit B to Bart Affidavit The Tate Collection’s Glossary defining the Term
Collage...................................................................

A-447

Exhibit C to Bart Affidavit The Tate Collection’s Glossary Information on
Marcel Duchamp’s Fountain .................................

A-448

Exhibit D to Bart Affidavit MOMA, Collection’s Information on Andy
Warhol’s Gold Marilyn Monroe.............................

A-449

Exhibit E to Bart Affidavit Amended Complaint, dated January 14, 2009
(Reproduced herein at pp. A-16-A31)

viii
Page
Exhibit F to Bart Affidavit Guggenheim Press Release entitled “Richard
Prince: Spiritual America Opens at the
Guggenheim Museum September 28”...................

A-453

Exhibit G to Bart Affidavit Excerpts from Deposition Transcript of Richard
Prince, dated October 6, 2009................................

A-460

Exhibit H to Bart Affidavit Artnet’s listing for Richard Prince Work available
for sale ...................................................................

A-502

Exhibit I to Bart Affidavit Article from artcritical.com entitled “Eighteen
Experts Talk with Brian Appel on the $1,248,000
Richard Prince Photograph that Has Set a New
World Auction Record for Photography” ..............

A-507

Exhibit J to Bart Affidavit Article from ArtDaily entitled “Sotheby’s July
2008 Contemporary Art Evening Sale Triumphs”.

A-514

Exhibit K to Bart Affidavit Excerpt from Trust & Estates, August 2008 Table
of Contents.............................................................

A-519

Exhibit L to Bart Affidavit Excerpts from Deposition Transcript of Lawrence
Gagosian, dated October 8, 2009...........................

A-520

Exhibit M to Bart Affidavit Richard Prince Book Canal Zone also referred to
as “The Catalogue” [See Exhibit 1 to the Joint
Appendix – Hard Copy of Canal Zone Book].......

A-528

ix
Page
Exhibit N to Bart Affidavit Stipulation between Plaintiff and Gagosian
Defendants, dated January 26, 2010
(Reproduced herein at pp. A-270-A-278)
Exhibit O to Bart Affidavit The Gagosian Gallery General Ledger for the
Period from October 1, 2008 to June 30, 2009......

A-529

Exhibit P to Bart Affidavit Advertisements for the Canal Zone Exhibition .....

A-530

Exhibit Q to Bart Affidavit Guest List for the November 8, 2008 Dinner held
at the Gramercy Park Hotel for Richard Prince.....

A-539

Exhibit R to Bart Affidavit Excerpts from Deposition Transcript of Anthony
Petrillose, dated October 23, 2009.........................

A-547

Exhibit S to Bart Affidavit Stipulation and Order of Dismissal between
Plaintiff and Rizzoli International Publications,
Inc., entered February 5, 2010 ...............................

A-549

Exhibit T to Bart Affidavit Stipulation between Gagosian and powerHouse
Cultural Entertainment, Inc., dated
February 1, 2010 ....................................................

A-551

Exhibit U to Bart Affidavit Excerpts from Deposition Transcript of Patrick
Cariou, dated January 12, 2010 .............................

A-555

Exhibit V to Bart Affidavit Plaintiff’s Answers and Objections to Defendants
Gagosian Gallery, Inc. and Lawrence Gagosian’s
Interrogatories, dated October 5, 2009 ..................

A-606

x
Page
Exhibit W to Bart Affidavit powerHouse’s Press Release announcing the
publication Yes Rasta, and categorizing the Book
as “Photography/Reggae Culture”........................

A-621

Exhibit X to Bart Affidavit Printout of Plaintiff’s Website ...............................

A-622

Exhibit Y to Bart Affidavit Excerpts from Deposition Transcript of
Christiane Celle, dated January 26, 2010 ..............

A-715

Exhibit Z to Bart Affidavit Letter from Daniel Brooks to the Honorable
Deborah A. Batts, dated February 8, 2010.............

A-735

Exhibit AA to Bart Affidavit Inside Jacket Cover of Yes Rasta ...........................

A-738

Exhibit BB to Bart Affidavit Definition of Appropriation Art from ArtLex ........

A-740

Exhibit CC to Bart Affidavit Composite Exhibit containing Copies of Images
of Rastafarians .......................................................

A-742

Exhibit DD to Bart Affidavit Certificate of Copyright Registration for Book
entitled Yes Rasta
(Reproduced herein at pp. A-227-A-228)
Exhibit EE to Bart Affidavit Photocopy of Patrick Carious’ Book entitled
Yes Rasta [See Exhibit 2 to the Joint Appendix –
Hard Copy of Yes Rasta Book] ..............................

A-743

Affidavit of Richard Prince, Defendant, in Support
of Motion for Summary Judgment, sworn to
May 13, 2010 .........................................................

A-744

xi
Page
Exhibit A to Prince Affidavit Composite Exhibit .................................................

A-772

Memorandum of Law in Support of Defendants’
Joint Motion for Summary Judgment, dated
May 14, 2010 .........................................................

A-812

Rule 56.1 Statement of Uncontested Material Facts
in Support of Defendants’ Joint Motion for
Summary Judgment, dated May 14, 2010 .............

A-842

Declaration of Daniel J. Brooks, for Plaintiff, in
Opposition to Defendants’ Motion for Summary
Judgment, dated June 11, 2010 ..............................

A-886

Exhibit A to Brooks Declaration Excerpts from Deposition Transcript of Richard
Prince, dated October 6, 2009................................

A-888

Exhibit B to Brooks Declaration Excerpts from Deposition Transcript of Lawrence
Gagosian, dated October 8, 2009...........................

A-893

Exhibit C to Brooks Declaration Excerpts from Deposition Transcript of
Christiane Celle, dated January 26, 2010 ..............

A-896

Exhibit D to Brooks Declaration Photograph entitled V-J Day in Time Square.........

A-901

Memorandum of Law in Opposition to Defendants’
Motion for Summary Judgment, dated
June 14, 2010 .........................................................

A-902

Supplemental Affidavit of Richard Prince,
Defendant, in Further Support of Defendants’
Motion for Summary Judgment and in
Opposition to Plaintiff’s Motion for Summary
Judgment, sworn to June 11, 2010.........................

A-933

xii
Page
Exhibit A to Prince Supplemental Affidavit Composite Exhibit .................................................

A-936

Counter-Statement Pursuant to Local Civil Rule
56.1 of Undisputed Material Facts in Opposition
to Defendants’ Motion for Summary Judgment,
dated June 14, 2010 ...............................................

A-937

Defendants Rule 56.1 State of Uncontested Material
Fact in Response to Plaintiff’s Statement
Pursuant to Local Rule 56.1, filed June 14, 2010..

A-970

Memorandum of Law in Opposition to Plaintiff’s
Motion for Summary Judgment, dated
June 14, 2010 .........................................................

A-984

Affidavit of Hollis Gonerka Bart, for Defendants
Gagosian Gallery, Inc. and Lawrence Gagosian,
in Opposition to Plaintiff’s Motion for Summary
Judgment, sworn to June 14, 2010......................... A-1014
Exhibit A to Bart Affidavit Pages from Website of “Ganja Fields and
Marijuana Tours” and “Negril Ganja Tour”........... A-1017
Exhibit B to Bart Affidavit Web Pages detailing the Amount of Time Cy
Twombly and Pablo Picasso dedicated to various
Works of Art........................................................... A-1030
Exhibit C to Bart Affidavit Complaint, dated December 30, 2008 ................... A-1034
Exhibit D to Bart Affidavit Excerpts from Deposition Transcript of Richard
Prince, dated October 6, 2010................................ A-1049

xiii
Page
Exhibit E to Bart Affidavit Excerpts from Deposition Transcript of Lawrence
Gagosian ................................................................ A-1059
Exhibit F to Bart Affidavit Excerpts from Deposition Transcript of
Christiane Celle, dated January 26, 2010 .............. A-1075
Exhibit G to Bart Affidavit Excerpts from Deposition Transcript of Patrick
Cariou, dated January 12, 2010 ............................. A-1082
Exhibit H to Bart Affidavit Excerpts from Deposition Transcript of Louise
Neri, dated December 17, 2009 ............................. A-1085
Exhibit I to Bart Affidavit Excerpts from Deposition Transcript of Allison
McDonald, dated December 17, 2009 ................... A-1091
Response to Defendants’ Counter-Statement of
Uncontested Material Facts Pursuant to Local
Rule 56.1, dated June 24, 2010.............................. A-1102
Reply Memorandum of Law in Support of
Plaintiff’s Motion for Summary Judgment, dated
June 24, 2010 ......................................................... A-1107
Reply Declaration of Daniel J. Brooks, for Plaintiff,
in Further Support of Motion for Summary
Judgment, dated June 24, 2010.............................. A-1121
Exhibit A to Brooks Reply Declaration Excerpts from Deposition Transcript of Richard
Prince, dated October 6, 2009................................ A-1123
Exhibit B to Brooks Reply Declaration Excerpts from Deposition Transcript of Lawrence
Gagosian, dated October 8, 2009........................... A-1129

xiv
Page
Exhibit C to Brooks Reply Declaration New York Times Article entitled “If the Copy Is
an ArtWork, Then What’s the Original?”............... A-1131
Exhibit D to Brooks Reply Declaration Interview of Richard Prince by Brian Appel ......... A-1133
Defendants’ Joint Memorandum of Law in Reply to
Plaintiff’s Opposition to Defendants’ Joint
Motion for Summary Judgment, dated
June 24, 2010 ......................................................... A-1139
Reply Affidavit of Hollis Gonerka Bart, for
Defendants Gagosian Gallery, Inc. and Lawrence
Gagosian, in Further Support of Defendants’
Motion for Summary Judgment, sworn to
June 24, 2010 ......................................................... A-1154
Exhibit A to Bart Reply Affidavit Excerpts from Deposition Transcript of John
Olson, dated November 16, 2009 .......................... A-1156
Exhibit B to Bart Reply Affidavit Chart ...................................................................... A-1171
Exhibit C to Bart Reply Affidavit Deposition Transcript of Richard Prince, dated
October 6, 2009 ..................................................... A-1173
Letter from Steven M. Hayes to the Honorable
Deborah A. Batts, dated June 24, 2010 with
Amendment to Defendants’ Rule 56.1 Statement
of Uncontested Material Facts in Response to
Plaintiff’s Statement Pursuant to Local Rule 56.1. A-1271
Memo Endorsed Letter, dated July 1, 2010 ............... A-1273
Deposition Transcript of Lawrence Gagosian, dated
October 8, 2009 ..................................................... A-1274

xv
Page
Deposition Transcript of Anthony Petrillose, dated
October 23, 2009 ................................................... A-1319
Deposition Transcript of Nancyscans Corp. by John
Olson, dated November 16, 2009 .......................... A-1350
Deposition Transcript of Alison McDonald, dated
December 17, 2009 ................................................ A-1461
Deposition Transcript of Louise Neri, dated
December 17, 2009 ................................................ A-1486
Deposition Transcript of Patrick Cariou, dated
January 12, 2010 .................................................... A-1503
Deposition Transcript of Christiane Celle, dated
January 26, 2010 .................................................... A-1578
Prince Deposition Exhibits 1-43 ................................ A-1620
Cariou Deposition Exhibits 1-18 ............................... A-1842
Neri Deposition Exhibits 106-109 ............................. A-1988
Gagosian Deposition Exhibits 44-62 ......................... A-1995
Olson Deposition Exhibits 92-102............................. A-2067
Celle Deposition Exhibits 1-3.................................... A-2136
Petrillose Deposition Exhibits 63-91 ......................... A-2145
McDonald Deposition Exhibits 103-105 ................... A-2235
Notice of Joint Appeal, dated March 25, 2011 .......... A-2260
Stipulation of Counsel, dated April 11, 2011 ............. A-2262

A-281

• Find Articles in:

• Aii

• Business
• Reference
• T~chn()iogy
• l.ir~tyle
• Ntl~sp'ap~r <;::olle~ti()n

Arts Publications
o Comments

Richard Prince talks to Steve Lafreniere
- '80S Then - Interview
ArtForum, March.:,

~og3

STEVE LAFRENIERE: You weren't in Douglas Crimp's "Pictures" exhibition, but a lot of
people seem to think you were, maybe because of your later association with Helene Winer,
who was at Artists Space before starting Metro Pictures. Did you feel a kinship to the artists in
the "Pictures" show?
RICHARD PRINCE: I've never said this before, but Doug Crimp actually asked me to be in that
show. I read his essay and told him it was for shit, that it sounded like Roland Barthes. We
haven't spoken since. I didn't know anybody in the show at the time. I later became friends
with Troy Brauntuch. I still like his work.
SL: VV'hat you read didn't ring true in terms of what you were doing?
RP: I guess that in those days I didn't particularly understand the relationship between artist
and critic, and I didn't care to establish any relationship. Critics tried to tell you what you were
doing, and wanted you to make the kind of work that they were thinking about. I probably
resented that. I had a similar argument with Craig Owens. We had a difficult exchange and r
ended up not talking to him. But I more or less had feelings about what they were describing.
We were on parallel roads.
I also didn't understand Crimp's choices. There were a whole bunch of people who could have
been in that show, like James Casebere and Jim Welling, or Laurie Simmons and Sarah
Charlesworth--but none of them were, and that didn't make sense to me. There didn't seem to
be any photography.
SL: Did not being in the show end up affecting your career?
RP: Well, like you said, people seem to think I was in it. People think Cindy Sherman was in it
too. I don't know who really ever read that essay. Those shows and essays are for other critics.
So I don't know what affects a career. I do kn~w t~at I would continually change what I did,

http://findarticles.com/p/articles/mi_m0268/is_7_ 4I1ai_98918646!

C00226

9129/2009

A-282

which didn't help in the beginning, but did in the end.
SL: L'd always assumed that you purposely made your early photos have an amateur look, and
that you'd done them quickly. But looking at them today wotild suggest otherwise. How
worked-on were pictures like Untitled (three women looking in the same direction) [1980]7
RP: I had limited technical skills regarding the camera. Actually, I had no skills. I played the
camera. I used a cheap commercial lab to blow up the pictures. I made editions of two. I never
went into a darkroom. And yes, I really worked hard on Women. I mean, that piece still looks
like it was purposely made ..
SL: So you sort of feU into photography?
RP: In the early '80S I didn't have the subject matter for painting. I didn't have the "Jokes"
until 1986. What I did have was magazines. I was working at Time Life and was surrounded by
magazines. I wanted to present the images I saw in these magazines as naturally as when they
first appeared. Making a photograph of them seemed the best way to do it. I didn't exactly "fall"
as much as steal.
SL: The cliche is that the dealers were all-powerful then. But what about the collectors?
RP: I think certain collections are powerful. I saw one in 1987, at the Merino's in Monaco,
where they placed a big Thomas Ruff next to a "Big Nude" by Helmur Newton. They were
leaning against the wall. It made me change my mind. In the early '80S, to be collected by
Charles Saatchi was another way to be included, to be part of what was happening. To be in
instead of out, or so it seemed at the time. Anyway, I was "left out." Nobody bought my early
work. I couldn't even give it away.
SL: You don't have such great memories ofthe collectors.

RP: The Rubells gave pretty good parties. Michael Schwartz started collecting in the mid-'80s,
concentrating on about ten artists. I remember one woman collector asking me who "anon."
was. She was surprised she didn't know him or her, because they seemed to be listed in a lot of
collections. The best thing about being collected is getting money.
SL: Do you think the critics understood what you were doing?
RP: I wasn't aware that there was much critical writing in the '80S about my work. I think
people were more focused on David Salle, Schnabel, Fischl, Cindy Sherman, Jenny Holzer.
SL: Well, I remember one person gushing about your work's "complete eventlessness."

RP: That sounds like cartoon language. Kind of like when Susan Sontag describes taking a
photograph as "a soft murder."
SL: Ldngo,Schnabel, Sherman--they've all made movies. I've often wondered why you haven't.
RP: I'm not very collaborative. I like being alone. Working alone. I hate actresses. I don't like
having to ask permission. A green light is not something I'd be happy waitiIig for.

http://findarticles.comJp/articleslrni_m0268/is_7_41/ai_989186461

C00227

9/29/2009

A-283

SL: What films back then had an impact on you?
RP: The Road Warrior. First Blood, Alien. Drugstore Cowboy. The Terminator. Did Blade
Runner come out inthe '80S? If it did, I liked that one~-the original, not the director's cut.
SL: In your novel Why I Go to the Movies Alone, there's this notion of "counterfeit memory,"
the media landscape replacing personal history. Has that idea panned out?
RP: Do androids dream of electric sheep? Virhlal reality. Cloning. Sampling. Substitutes.
Surrogates. Stand-ins. It's either here or right around the corner.

http://findarticles.comlp/articles/mi_m0268/is_7_41/ai_989186461

C00228

9/29/2009

A-284

Case 1 :08-cv-11327-DAB Document 54-22

Filed 05/18/10 Page 2 of 2

Tu .....y. June a.2oo& 5>12 PM

SuII!oct: Powerflo<lse 800Ics I_IZOS
Date: Tuesd"" June

a. 2008 5:17 PM

Frvm:OI'defs@p~(OI11

To: <tJb!scane@lprlote .. t"dio.c:om>-

Deer Ricbaod Prince,
Thank you for supporting independent publishing. YOur invoice is below. If you have any guestions, please CDntact

order.@powerbou~Rbooks.co~

Login, bt.tps./lwww.poverhousebooks.com/cart2.php7AIO-3

I~'E:

'~I~'

205

$]OQ.oq

QT~' 3 ~ea.RD~t4

.. ,. :i~·~~'t~~Hts:i·
TOTAL. $333.29
B111ing Information,
Richard prince
Prince Studio
00", 12

&

aselearville. NY 12141
Un ted st.at.es

Shipping Information.
Ricbard Prince
Prince Studio
151 Righter Rd
rens_elearville, NY 1214;
!lnited State"
UPS Sbippiag' Ground
[e-mail]

CONFIDENTIAL - PR00038

A-285

•

Ri~ard Prince - l~erview Magaz~e

•

•

•

Page' of3

Richard PRINCE
By Gl.E.NI' O'BRlEI'

J'hor,oqron\vCHAIG MCVM.~

LAUNCH MEDlAPLAYER •

In Ihe ,pilil of filII disclosure, ye" I am lIO<Jci friends with -Richard Princr, and, no, he nc'w
gmc m,' mon' Ihan fOllr slrokes a side. Acillally we became fri('nds quickh becallsc ill lhe '80'

there wrt1.:n't t(X' mall) eong('niul bohemians a gil} rHLIleI pia) Ii roul1(l of gnlf",ith. ",'e
xlonl(,'d 10 the '"nit' dill> 011(~'. Hampton Hills nn Inng Island. ,wd I n'memxr tbe day we
'\l're on Ihe first green plIttin)\ "hen a lIlI) camr 7.Oorning up to LIS in a golf cart and said thai
Richard couldn't play in the hlnrk, paint-splatte1'l.'djeans he Wab wearing. Richard offered to
take them off, but lhat wasn'llc);al either.:;c) h,' went all tl)(' way h.~,·k tn Ih,- c1ubhou'<e, bO\ll\bl
" pair of shorts. put Ihem on, came back 10 lhe green on Ihe long par four. dod sank Ihe putt for
a birdi,,- Years lak,. we were sitting b~ Ric-hanl's pool in Ilridl\champtoll, :\e\l York. watcbing a
hLl!\C plLlm~ "r "noh,
from the Cpnlr-"I Pin,- Barrells. when'thousands of acres were

,-j,"

hnP://VvViw_interviewmagazine.com/art/richard-prince/

4/15/2009
C00065

•

A-286

•

•

•

•

•

•

Richard Prince - Interview Magazine

•

•

•

Page 2 of3

aflame, and we both said at once: "1 hope Hampton Hills is on fire."
Today Mr. Prince plays at the Bridge in Bridgchampton. where be bas curated the great
contemporary alt collection in the clubhouse. Until recently, he was club champion. I
remember we were walking up a fahway there when he told me a secret: that he was
collaborating with Marc,lacohs. "Ifthis works," he said, "1 can retire." That's one ofhi~jokes
that won't wind up on a painting. Some people, like him, could never retire. Sometimes I sense
he thinks that the art is getting in the way of the golf and the beach, but, hey, a guy has to make
a living. He's making a living, all right. [n the last decade the world bas discovered wbat his
foursome knew all along: In golf, be's good; in art. be's a grand master. I'or a wbile he held the
record for the highest amount evcl' paid for a photograph-for his photograph; be wasn't the
buyer. I have to point that out because, among othel' things, Richard Prince is a fierce collector.
If you said tbat be bas elevated collecting to an art fonn,You would be accuratc. You cau sec it
in the galleries, in his plinths of stacked first cditionR arranged to creatc a certain esoteric
resonance. [fyou know him you may have seen it in his extraordinary personal libra I}', tbe
bnilding where mucb of his collection of books. manuscripts, art, and ephemera is housed. Like
Andy Warhol. Ricbard Prince loves art so mnch he not only makes it, he buys it too.I
inte",iewed Richard at Gagosian GallelY in dO,,",town New York, where he showed me his new
Rasta paintings. (With his Massachusetts accent, Rasta ends in 1'.) Richard said it was tbe first
time he'd set foot in the gallelY. Was be kidding? You got me. Sometimes you don't know.
Wbile we were talking, his friend Leonardo DiCapl'io showed up and also got his two cents in
bere along with a sandwich.
GLENN O'BRIEN: So what bave you been collecting?
RICHARD PRINCE: Well, I'm still collecting bouKs .•John McWhinnie tracked down Carolyn
Cassady-she's living in England-so we got a whole bunch of what was on her shelf. ) got Neal
Cassady's copy of On the Road, whicb is prctty exciting.
GO: Is it dedicated?
RP: No, I think it's just the copy that ,Jack [Kerouac] gave him. Cassady wrote his name in it
and read it l'Ovel' to cOYer and made some marginal notes. But it's getting to the point where I
need to almost separate myself from the book collection hecause it's becoming too much of a
responsibility. ) jllst got hold of Neal Cassady's original manuscript for The First Third. Ile
wrote it in '5:1. and tben be corrected it for, like, 10 years. [ also just acquired Kerouac's original
typed scroll for Big SU!'. Everybody knew that he did scrolls for On the Road and Tbe Dharma
Bums, but nobody knew Ibat he did it with Big Sill'.
GO: Big Sur might be the most depressing book I've e,'er read.
RP: Well, the scroll was twice as depressing because it's twice as long. It might even be three
times as long as the -finished book-they edited it completely. What they lIltimatd)' -published
is about oue third of the scroll.
GO: Did Kerouac's cstatejust Ikwe thae Or where was it?
RP: It came from the Sampasestate [which controls Kerouac', estate]. .Jobn McWhinnie and
Glenn Honmitz [of John McWbinnie @ Glenn Horowitz Bookseller and }\.I't Gallery in New
York] are very good at locating things. They got me one uftbe draft manuscripts of The Road
by Cormac McCartllY. It was the same tbing with Hunter S. Thompson-they got me bis
manuscript for rear and Loathing in Las Vegas. I've also got a lot of Timothy Leary stuff. I've
become very interested in Timotby Leary l·eeently. ) didn't realize be escaped from jail. So I
bm'e Leary's original little map tbat be made of how he escaped and where be weut.
GO: Wasn't Leary in the samejail as Cbarle.' Manson for a stretch? Tbeywel'e, like. neighbors
on the cellblock.
RP: Leary was jailed, escaped, traveled across America and went to Europe, was eventually
cougbt, nnd put buck in jail, for a time in thc same one as Manson.

http://www.interviewmagazine.com/art/richard-prince/

4/1512009
C00066

A-287

•

•

•

•

Richard Prince - Interview Magazine

•

•

•

•
Page 3 of3

GO: I inteniewed Timothy Leary once in his house in -Beverly Hills.
RP: Before be died? I mean. obviously, bul ...
GO: Yeah, I interviewed him before he died. [Prillce /aug/L,] It waR achlaJly a few years before
be died. He seemed to be ... drinking a lot. He was really a hustler. A networker.lt was funny
because he reminded me of Jeri)' Rubin. I met ,Tefl}' Rubin [Yippie and Chicago 7 defendant].
too. after he went from being the ultimate hipster, a very underground person, to being like.
[enthusiastic] "Hi. I'm Jerry Rubin!" He was then totally into networking and throwing }~lppie
mixers at Studio 54. He'd become a tot.11 suit and tie. Leary seemed like he was sort of going in
that direction-marketing.

http://www.interviewmagazine.comlartlrichard-prince/

411512009
C0006?

A-288

•

•

•

•

•

Richard Prince - Page 2 - Interview Magazine

•

•

•

Page 1 of3

Richard PRINCE
By GLENN O'BRIEN
Photography CRAIG MCDEAN

I WENT OUT TO CALIFORNIA RIGHT AFI'ER
HIGH SCHOOL, AND THAT'S WHEN I FIRST
DID ACID, RIGHT ON SUNSET STRIP. I WAS
A COMPLETELY CLUELESS TEENAGER.
DROP OUT, TUNE IN, TURN ON,
-RICHARD PRINCE

RP: It's interesting how people who were once fail'1y radical can become, later in life, kind of
conservative and not just in terms of politics-how if you're an artist, YOII can start out being
somewhat avant-garde and then end up doing landscapes. Sometimes the opposite Can happen,
but it's usually the other way around. I mean, look what happened witb Kcrou<lc. You know, he
reall.v became kind of a Republican.
GO: Some people say he was always sort of a Republican. He was a mama's boy.
RP: Well, some of the best artists-I mean, [Paul] Cezanne and [Giorgio) de Chirico come to
mind-basically liven with their mothers.
GO: Andy [Warhol], too. But "ith Kerouac, 1 don't know. A lot of people who took
amphetamines became halfbrain-dead.
RP: nut r think that people underestimated how intelligent Kerou"c was and how well-read he
was, and I think that really got to him. It's somewhat like what happened to ,Jackson Pollock,
too, where what he did became part of some comedian's act-you know, how they started calling
him .Jack the Dripper. The term bl.'al7tik came out of what Kcrouac referred to as beat, and then
it became kind oflikc an advertising thing. The"c'5 that famous Truman Capote quote about
Kerouac: "'hat's not \\Tiling-that's typelVTiting." So Kerouac had to deal \\·itb that. And if you're
someone who already has a predilection to drink alcohol, it exacCI'bates the whole problem. I
mean, these guys were pretty thin-skinned to begin with. They didn't particularly embrdce the
criticism.
GO: Being famollS was different then too. Now, there are degrees of fame. There's, like, the
cable-'[V degree offame, and then there's big fame. Bllt back then there were maybe something
like 200 celebrities and you went from complete obscurity to being on the CO\'er of Life
magazine. It was extreme. There wasn't mnch mid-level fame.
RP: Well, some people are better at handling the limelight than others. I mean, YOII take a guy
like J.D. Salinger who basically has been off the grid for 30, 40 years-has no use for it, doesn't
care about it. And then, of course, it absolutely destroyed someone like Pollock. And, in a
strange way, itl\asn'! so inuchthemedlathat did it, bllt just the idea of making ifand
becoming successful. Look at the rock 'n' rollers-that's a whole other leveL You can name so
many who died Yery soon after they had any SlIccess, whether it's ,Jimi Hendrix or Gram
Parsons orJim Morrison or Janis Joplin or Kllrt Cobain ...
GO: But don't you think that while pa.1 of that is sensitivity, P1ll1 of it also has to do "1th how
being a junkie or an alcoholic bas been sensationalized? YOll see all the pictures of Keith
Richards balding a bottle of Jack Daniel's, and it makes people think, Well, if! want that, then
that's wbat I have to do.
RP: And it's amazing how many people do it, too, how many artists and musicians and people
in cinema go dO\>ll that road.

http://www-interviewmagazine.comiartlrichard-prince/2!

4/15/2009
C00068

A-289

•

•

•

•

•

•

Richard Prince - Page 2 - Interview Magazine

•

•

•

Page 2 of3

GO: Maybe the difference between then and now is that the abstract expressionists were all
drinking gin, and today we're drinking barrel-fermented chardonnay.
RP: Kerollac and his buddies drank Sterno-I mean cheap, eheap stllff.
GO: In Big Sur, they drink white port, which is sort oflike a grape-based paint tllilmer.
RP: I was just reading about this drug that I'd never heard abollt, this herb that YOII chcw on or
something and you haw an out-nf-body experience for five to 10 minutes. My stepson knew all
about it.
GO; Is it divine sage?
RP; It's something like that, yeah. It was in The New York Times the other day. But, of course,
where we live in upstate New York, it's all about these meth labs. People are mixing up the
medicine, cooking it in their kitchen, and getting really strung out.
GO: Everybody thinks that heroin is the most dangerous dntg, but I think most of the
celebrities who've died have died from mixing alcohol and barbiturates. That's what Marll)"
Monroe and Hendrix died from.
RP: Yeah, it's sort of a strange way to die.
C''{): So what else have you beell collecting? I heard you bought Brigid Berlin's cock-print book.

RP: Yeah. There were, like, three volumes that I bought. I don't know how many volume.oftbe

Cock Book she did-she might have done more than three. But they're these huge compendiums
of Polaroids aud prints of people's cocks. -Everybody from Brice Marden and ,lean-Michel
Basquiat to Victor Hugo and Andy are in there. It kind of reminds me of Cynthia Plaster Caster.
GO: What do you think happened to those casts that Cynthia Plaster Caster did?
RP: I have one.
GO: You do?

RP: I ha\'c a Hendrix cast.
GO: Really?

RP: Yeah. Shc still makes them but I don't kllow if you can buy them from her. She has a
website.
GO: Is it a limited edition'?
RP: [ don't know if it's a limited edition. Alii know is that it's signed by her on tbe bottom, and
it stan.d~ up like a papeI:"'cight, [ was thi,nking, maybe down the liJ]c I would curate a show
about the male physique. At this point, I have a fairly significant collection of pieces featuring
the male nude. I have a Mapplethorpe. Molinier could be in there. I have Tom of Finland
drawings. It'sjUSl a subject that kind of took all a life of its OWll. So when the Cock Book came
lip, I just went for it, thinking that maybe it could be part of the exhibition someday.

GO: So you've lost interest in this penis exhibition?
RP: Well, I mean, that's probably tbe defining area of the male anatomy that the exhibition
would be about, but there was also a nice torso.
GO: You could call the exhibition "Little Richard,"

http://www.interviewrnagazine.comlartlrichard-prince/2/

4115/2009
C00069

A-290

•

•

•

•

•

•

Richard Prince - Page 2 - Interview Magazine

•

•

•

Page 3 of3

RP: "Little Richard" would be a great title.
GO: When I was in college, there "'as always this rumor that you could go to the Armed Forces
Medical Museum in D.C. and see Jobn Dillinger's penis. It was supposed to be iu ajar.
RP: That's wbat I've beard, too.
GO: And it was supposed to be, like,

20

inches long 01' something like that.

RP: The things people save.
GO: So what's the weirdest thing that you've collected?
RP: The weirdest? God, that's a good question. Ijust bought a wax head of Leonnrd Nimoy as
Mr. Spock. I bought it at an auction in Texas. It's a life-size head, and it has the dirtiest,
nattiest, most ugly hairpiece with the pointed ears attached to it. I had an entire kitchen built to
house the head ill the refrigerator. But probably tbe strangest thing 1 would've had, had I bid
enough money on it, was a fence-it was the picket fence that the shootel'S who assassinated
John F. Kennedy supposedly stood behind.
GO: On the grassy knoll.

RP: On the grassy knoll. It was taken dOW11 by some sanitation worker in the '60S and then
apparently Pllt up for auction at a little place all Long Island. I was actually going to take that
picket fcnce and put it tip 011 its own little grassy knoll. Hut I didn't get it.
GO: How would )'ou authenticate something like that? Did E. Howard Hunt come with it?
RP: I don't know-there arc markings. But the whole idea of a conspiracy is so interesting. I
have a copy of the Warren -Report, signed to Darryl F. Zanuck [the film producer]. And then I
have thes~ strange films of people who have been given doses of LSD in a controlled
cmironment. But probablY the strangest book lawn is a ~opyofMOrey Amsterdam'sKeep

I.allghing because it was read by the CIA and it "'as all marked up.
GO: Really?
RP: I don't know if anybody remembers the premise for Three Days of the COlldor [1975] but
the guy in the film basically read books fot· the CIA for a living. This is the only book in 30 years
that I've ever fa lind that I know was actually read and marked. And of all books, it was one by
Morey Amsterdam.
GO: When I alTi\'C(\ at the Factory, intc)'\'iew had puhlished, like, six or seven issues and I was
looking through the subscription list, and CIA headquarters in Langley, Virginia, had a
subscription to Interview. I guess the FBI had a big Warhol file. But I thought it was so ,,'eird
that our little magazine was being read by those readers.

http://www-intervievvrnagazine.com/artlrichard-prince/2/

4/1512009
COODlD

A-291

•

•

•

•

•

•

Richard Prince - Page 3 - Interview Magazine

•

•

•
Page 1 of4

Richard PRINCE
By GLENN O'BRIEN
Photography CRAlG MCDEAN

I GOT AN E-MAIL LAST NIGHT FROM
SOMEONE SAYING, "'PAGE SIX' WANTS TO
KNOW IF YOU JUST BOUGHT A GS JET." I EMAILED THEM BACK SAYING, "NO, BUT I
JUST BOUGHT A POWER CHUTE."
-RICHARD PRINCE

RP: Well, I guess they'd pick up patterns. There's also a way of sending intelligence through
these publications. I grew up in that whole conspiratorial atmosphere in the '50S, being born in
the [Panama] Canal Zone to parcnts who worked for the OSS [Office of Strategic Serl'ices, a
World War II-era precursor to the CIA]' So [ grew up with this kind of paranoia about
communism. There wasn't so much tnlst. You onl\' bung out with your own kind, and it was a
really suburban, white-bread type of existence. There was nothing forcign to the lifestyle. I
would refer to it as a Reade,"s Dige.~t-1}11e of existence. That was the only subscription that
came to our house.
GO: Reader's Digest was the biggest magazine in the world.
RP: Yeah. And it still seems kind of weird to me that someone could come Ollt of that cxistence
and kind of go the opposite way-you know, completely antisocial, antiestablishment, antiDemocrat, anti-Republican, certainly anti-IRS.
GO: Well, when Ted Kaczynski was a student at Harvard he apparently participated in a mindcontrol study where he was experimented on "ith LSD, and some people think that's what
made him the Un.bomber. So that's one way something like that can happen.
RP: Does anybody take acid anY1nore?
GO: [ think so.
RP: I was the worst candidate for that kind of thing. I never had a great time on it.
GO: I took it at Woodstock.
RP: I took it at Woodstock too.
GO: It was bad. 1 had to leave. I didn't want to share my -blanket or be "aU one."
RP: Actuillly, thalwas one ofthe few tiines that I had a good time on it. Bilt r didn't like
hovering above mys<.'lf and looking back, or going through a door and thinking, Ho\\' many
times did I just go through that door? How do [get back? You know, that's not for me. I
remember that l went out to California right after J graduated from high school and that's
whenl first did acid, right on Sunset Strip. [ was a completelycilleless teenager, you know?
Drop out, tIIne in, turn on.
GO: Turn on, tune in, drop out, blow your mind.
RP: That's aliI knew. That's what J wanted to do. At tbat point, I was a huge fan of Cream. I
rememhergoing to see them in Boston in '66 or'6i. They were already sort of doing a much
more psychedelic type ofmllSic. I1iked the sound a lot. I don't know why. There"lls just

http://www.interviewma!!.azine.comlartJrichard -Drince!3!

411512009

C00071

A-292

•

•

•

•

•

•

Richard Prince - Page 3 - Interview Magazine

•

•

•
Page 2 of4

something ahout it.
GO: Well, the sound was complicated. It was a little hit Iikcjazz-like John Coltrane or
something.
RP: Well, Fresh Cream [1966) was an amazing album, but then Disraeli Gem's [1967] was
completely psychedelic-the songs on Disraeli Gears al'e a little bit more sophisticated than
your garden variety pop songs. But, like we were Sll}ing, it's interesting how someone can come
out of an environment that sort of tries to shut down curiosity and imagination and channel it
into something more mainstream ... It's funny how so many kids can just leave that behind. I
mean that's what's SOIt of interesting reading about the No Wave movement in New York City
in the '70S and the earlr '80s-the one thing all of the artists and ml1sician~ at;ldfilmmakcrs and
people involved with it had in common is the sort of environment that tbey left behind.
GO: Yeah. We were all refugees.
RP: And they all came to New York City and disappeared into this alternative en~ironment and
started to experiment. What's interesting to me is that it still goes on today. It might take on a
little bit of a variation, but that's what's great about going to see new art or musie or even filmthe way it can now be made and distributed.
GO: But when we were coming up, I remember going to Max's Kansas City, and all of the older
artists would be sitting at the bar and the young freaks would be in the back room, but
everyone was kind ofin the same place, you know? Do you think that generations still have the
same ldnd of dialogues tbat they did back then?
RP: I think it depends on how open you are. I mean, as an older artist, I'm fairly open. I've
sought out and had conYel'sations with people like Nate Lowman and Dash Snow and Dan
Colen. I just met Rita Ackermann literally 15 minutes ago. But when I was younger, I was
always fairly timid and withdrawn. I went to Max's and CBGB a lot but I was always afraidbecause Ijust didn't fit in. One oftbe places that I went to was the Ocean Club-J wasn't so
much afraid there, b\1\ I could still only peer into the place where everyone ate. I remember
watching Brice Marden because he had his own table.
GO: All the girls wanted to meet Brice Marden.
RP: J also rememhcr going to Mickey Ruskin's and seeing Lawrence Weiner and Carl Andre
high-five e.ach other. But, YOll know, that's the kind of thing tbat gets passed on, and you stalt
to establish youro"~l place, That's where places like the Mudd Club and Tier 3 and Barnah<t5
Rex came in, because you didn't have to stand in the wings any longer-you. were a part of what
was happening. I don't have any idea where that happens in Manhattan now-I ean't even
imagine that happening because who could afford to Ike in New York City now, you know?
GO: Maybe it doesn't happen so much anymore.
RP: Well, if you're an artist or someone creath·e. it's all about eheap rent and not ba.ing to
work for a Jiving. That's what it's always been about. Unle..<;s you're a tnl~t-funder or you
somehow score a great part-timejoh or YOll work for another artist, you're going to go where
you ~.an afford to live. I l'emember coming to New York. The plan was to come here for three
months-if I could last that long. I remember saving $2,000 and saying, "Well, I just want to
check it out." I'd read about this thing called SaHo and I just came down bere ... I sublet an
apartment from this glW who made porno films, and he charged ·me $140 a month. I was
outraged because it was a roachinfested, tub-in-the-kitchen piece of crap, and I was used to paying $60 a month in Boston.
And I couldn't afford it, But I couldn't find an)1hing cheaper. So I guess it's all relative.

GO: So what's your rent Do\V?
RP: I don't rent, and I don't own, and I don'! have a mortgage.

httn://www.interviewmaQ.azine.com/artirichard-nrince13/

4/1 'i/2009

C00072

A-293

•

•

•

•

•

Richard Prince - Page 3 - Interview Magazine

•

•

•

•
Page 3 of4

GO: Yeah, r know.
[Leonm'do DiCaprio enters.]

LEONARDO DICAPRIO: 'Sup, buddy?
RP: Do you know Glenn O'Brien?
GO:HL
LO: Hi, how are you?
GO: Good, nice to meet you.
RP; Leo, tbis is his magazine. [shows DiCaprio a copy a/Interview]
LO: Right. r was speaking with Mr. Tony Shafrazi about that.
RP: You want something to eat?

L\): Sure, I'll eat something. Tobey [Maguire] can't make it until later now.
RP: That's all right. [looks at plate] I don't know what that is but i1'sLD; Fishy?
RP: I don't know. Is it fish?
GO: r think iI's roast beef, isn't it?
RP: Is it roast beef?
GO: Ham?
RP: Ham? Turkey?
LD: Is this eaten?
RP: Nope.
LO:

rn eat this. The magazine looks gl'eat, though.

GO: Thanks.
LD: It's going back old-school now, right?
GO: Yeah.
LD: That's great.
GO; Somebody e-mailed me that Kanye West bas a blog alld on the hlog today he says
Intel'View magazine is the shit.

RP: Oh yeah? Hejust got arrested,
LD: Kanye West did? What for?
RP: Papara73.i.

http://www.interviev.ma!!azine.comlartlrichard -nrince!3!

4/1 '\I?OO<)

C00073

A-294

•

•

•

•

•

•

Richard Prince - Page 3 - Interview Magazine

•

•

•
Page 4 0[4

GO: Punched a photogl"dpher at the airport, allegedly.
LD: Good for him.
RP: Yeab, more power to him. But tbat's the weird thing about celebrity. I got an "-mail last

night from someonesa)ing, "'Page Six' wants to know if you just bought a Gsjet." Ie-mailed
them back sa)ing, "No, but I jusl bought a Power Chute." Ultimately, tbough, people stop
talking about what you do and start talking about YOllr lifestyle. Ll1cl..,lyfo1' me, I don't really
ha \'C a lifestyle.
GO: But you were prepared for fame from years ofl)·;ng.

RP: Well, that's tme, yeah. I mean, it gets ba~k to that issue of how you deal with it. Obviously,
the art world is a bit smaller than the music world, and the music world is a bit smaller than
the cinema world. But the art world is pretty tight even though the biggest tbing that's
happeued to it is the auctions, which arc the only rcason people on the outside know anything
about it.
GO: But in the old days people lmew who Picasso was. right?
RP: Well, the way you would know if someone is famous in the art world is that you would ask
your mother. My mother knows who Picasso was. She knows who Warhol was.
GO: What abollt Julian Schnabel'?
RP:No.
GO: [infunny accent] You know, Mom, that guy in the pajamas?
RP: But she knows who Rauschcnberg was. My mother knows who Larry Rivers was, which is
interesting. I think Larry Rh'ers was one of the most underrated artists.

GO: She knew him because he was a looker. Do you get people coming up to YOII more now
than you haw ill the past?
RP: I've had to put lip security at my house upstate-you know, it's on it dead-end dirt road ill
the middle of nowhere. Leo just went lip there, and he can attest 10 the fact that I live in the
middle of God only knows where. But we bad a guy from Germany come down the driveway the
othcl·day.
LD: [in German accent] Mr. Prince! Iloveyou",>urk! A moment ofyaur time, please!
RP: [laughs] Exactly. But I think ,dtb success yuu do get a little more guarded and you start to
change your friends. You become more isolated. And you start hanging around wilh people
who have money! llhink thai's the biggest thing. Once you do get a bit of change in your
pQ(~kel, you start hanging around ,,1th other people who have some change. It was kind of
sirange toalJofasudden go from one extremc,Manhattan-to where I went, upstate New. YorkBut r did it because I was d~ing in the city. I couldn't take it. I caulda't take one more dinner
party. I couldn't take one more party, period.

httn:/lwww.interviewmal!azine.com/artlrichard-nrince/3/

4/1 ')nOOQ

C00074

A-295

•

•

•

•

•

•

Richard Prince - Page 4 - Interview Magazine

•

•

•
Page 1 of3

Richard PRINCE
Ry GLENN O'BRIEN
PhQlography CRAIG MCDEAN

THE RASTAS AND THE LESBIANS STARTED
STARRING IN THESE PICTURES AND WERE
KIND OF LIKE BANDS-THERE ARE, LIKE,
FIVE PEOPLE TO A PICTURE, AND EVERY
PICTURE HAS A TITLE TO IT. IT SORT OF
BECOMES AN ALLEGORY, IT'S JUST
SOMETHING I NEEDED TO GET OUT OF MY
SYSTEM,
-RICHARD PRINCE

GO: Also, you were clearly hypersensitive, Richard had three floors in his bnilding so that
nobody would be above him and nobody would be below him-so he didn't have to hear
anybody walking or playing music.
RP: Yeah, I was very sensitive about noise, which, ifyoll're going to live in New York, is crazy.
But I paid so much mOlley for that situation. And then I ended up renting to the strangest
people. I rented to the woman who played Laura Palmer on Twin Peaks, Sheryl Lee. But I do
remember things about living in New York ... I remember being at the Odeon onc night and
going down to that basement and pissing in oue of those old toilets liP against the wall with the
ice. It was called pissing on icc-that ,,'as the expression. A really good restaurant pours ice in
their toilets, at least on tbe men's side.

LD: Is that Ime?
RP: ThaI's the mark of a very upscale restaurant. It's not Ime anymore but it used to be.
GO: They still have it at P.,l. C1arke's, I think.

RP: Apparently, it takes away the ammonia smell of urine, I used to write under the
pseudon}wof
Fulton Ryder, and I wrote a little essay called "Pissing on lee" that was published in Real Life

magazine.
GO: Hilton Rider?
RP: Fulton RyMr.
GO: Fulton. So how did you get into these Rasta pieces that you're doing now? I kuow a little
bit about it.
RP: That was just from hanging out in Saint Bart's for the last 12 years.
GO: And we all know how many Rastas there are in Saint Bart's, ..
RP: There aren't that mallY Rastas in Saint Bart's, but [picked up a book on them. n's a very
foreign subject for me. And, you know, I jl1st love the mysticism-the kind of religious, musical
definition of Rastafari..,nism. It's a very defined type of culture that I didn't really know much
about. But I loved the look, and I loved the dreads, SO I just started fooling around \\;th this
book, drm\irig it like I did \\1th the de Kooning paintings. I did some collages. And then I wrote
this proposal, which I pitched to Hollywood. It was called Eden Rock. The story was basically

http://www.interviewrnagazine.com/artlrichard-prince/4/

4115/2009
C00075

A-296

•

•

•

•

•

Richard Prince - Page 4 - Interview Magazine

•

•

•
Page 2 of3

about a guy who lauds in Saint Bart's, gets off the plane, is immediately laId that there's been a
nuclear holocaust in the rest ofthe world, and he looks at his family and says, "Wc can't go
back." So he and his relatives take over a hotel-they take over Eden Rock. Then there are some
Rastas all a cruise ship. Three days later, some locals attack the cruise ship and they start
throwing people overboard. And these are huge cruise ships dowu therc-Iike, multi-level cruise
ships. But the Rastas escape, and they take over their own hotel, the Manapany. And then
there's a lesbian group of girls who escape and they take over their own hotel, the Guanabani.
So everybody has their own hotel, and that's where thc,1dco game rights come into this pitch.
We got a ghostwriter to do the story, and it's being published, and eventually, hopefully, it'll be
totallyfucked up by Hollywood. But [don't carc because it's all under a pscudon}1TI. My name
is not attached to it.
GO: Fulton, nh ... Ryder?
RP: Fulton Ryder is the pseudonym. So anyway, the Rastas and the lesbians started starring in
these pictures and were kind of like bands-there are, like, five people to a pil1ure, and every
picture has a title to it. It sort of becomes an allegory. It'sjust something I needed to get out of
my system. The pictures arc very quickly done-they're not really thought about-and there's a
collage element to them that's velY primitive. Paste-up, cuttillg with scissors, and squeegeed on
with paint. It's something that I can do myself, and I like that aspect ofit. I don't need
assistants. I don't need anybody. "James Brown's Disco Ball" is SOli of the working title of the
whole body of work, although "Ding Dong the Witch Is Dead" is another title th,lt I'm thinking
about. And then my contribution to the Rastas was this introduction of the guitar.
GO: Is it always the same guitar or arc there different guitars?
RP: No, there arc different guitars. I Cllt out the little section oflhe guitar and pasted o\'er their
midsections, so it's like the new fig leaf.

IT WAS KIND OF STRANGE TO ALL OF A
SUDDEN GO FROM ONE EXTREMEMANHATIAN-TO WHERE I WENT, UPSTATE
NEW YORK. BUT I DID IT BECAUSE I WAS
DYING IN THE CITI_ I COULDN'T TAKE IT. I
COULDN'T TAKE ONE MORE DINNER
PARTI. I COULDN'T TAKE ONE MORE
PARTI, PERIOD.
-RICHARD PRINCE

GO: What about the eyes?
RP: I had done the lozenge eyes far your book of poems a long time ago. [also did a whole
portfolio of historical Jesus paintings that I put these lozenges on. And then, of aU people, Marc
.lacobs wasinlhe studio, and [must have had one of these lozengefacesollt, and he~ays,
·What's this? I've never seen this before." He really liked it, so he made somejewelI}' ",tb it. It
sort of got me thinking about them again. Tbe other thing is that a lot of the imagery is blaekand-white, so the lozenge is almost like one ofthasc old black barstbat they used to put ove['
women's faces in porn magazines if they didn't want to he identified. I like the idea-it's almost
like it has this kind of relation to the nurses' mask [in Prince's nurse paintingsJ. It's a way of
making it all the same and getting rid of the personality. It also comes alit of the de Kooning
paintings. It really morphed out of that because right at the end of working on the de Koonings,
I started to use images of black women with a black-and-white process. I liked the skin tone
that came out of the ink-jet process-it was jllst something accidental.
GO: Why did you get sick of doing the de Kooning paintings? It seemed like you did more'nurse
paintings than de Koonings.

httn://www.interviewma~13zine.com/art/ri(..hard-nrince/4/

411 'iI?OOq

C00076

A-297

•

•

•

•

Richard Prince - Page 4 - Interview Magazine

•

•

•
Page 3 of3

RP: Yeah, I did do more nurses, but with the de Koonings, I'djllst done it. I didn't like the idea
that, in the end, I had to pay attention to someone else's work. And I wanted to get rid ofthe
color. So the thing is that, you know, two years of doing the de Koonings was enough. It was
enough of my attention. The Rastas came really fast. And they're going to be Over really fast,
too.
GO: The last time I was at your house on Long Island, you had this Velvet Underground

painting up. And then J saw it on an auction link right after that.
RP: Tha~s hecause it was donated to the red auction. I still occasionally do a Velvet
Underground painting, I've done a Sonic Youth painting and two of The Band. Those are the
three bands that I'\"e done,
GO: I was listening to Sirius Satellite Radio the other day and "When I Paint My Masterpiece"
came on. What a great song tbat is! The Band and Bob Dylan. Dylan "Tote it. The Band covered
it. Then Dylan and The Band did it together.
RP: The Band had great songs, They had great album covers, too. I remember the second
album [The Band, 19691 that came out ,,1th them standing in the field, sepia-toned. They
looked like they were out of that McCabe & Mrs. MiliCI' [1971] western "itl! Wan'cn Beatty. It
was a very simple cover, just them staring at the camera. You really couldn't tell who was who.
GO: Did you ever go up to Woodstock when they were living up there and hanging out?

RP: We go down to Woodstock like once every two months. It's pretty Ileal' where we lh'e, I've
always wanted to go back to the field where the original festival took place in Bethel (New
York], Max Yasglll"S timn. Apparently they have a marker tbere now and it's a public space. I
always wanted to go back there, I wanted to go back to that field and take a photograph of it.
The same place where I took my one photograph of Woodstock.
GO: With the one frame that you had left in YOUl' camera.

RP: You don't believe that, do you?
GO: After ali

the~~

years, there are a couple of things that I'm stiilnot quite sureahout.

httn://www.jnterviewmagazine.com/flrt/richflrc1-nrinc~/41

4/1,!?OOQ

C00077

A-298

C00017

A-299

Richard Prince. Gradllation. 2008. 72 3/4 x 521}2 inches (plate I in book )

Yes Rasta! ©Patrick Cariou. 2000. Published by Powerhouse hooks, inc.

:2

C00018

A-300

Richard Prince, Unfilled (Ras{(J), 2UOR. 40 x .30 Inches (plate 2 in bOllk)

Yes Rasta! ©Patrick Cariou, 2000. Published by Powerhouse books. inc .
..,
.1

C00019

A-301

Richard Prince, Unritled (RastaJ . detail. 2()()R. 40 x 3() inches (plate 3 in book)

Yes Rasta! ©Patrick Cariou. 2000. Published by Powerhouse books. inc.
4

C00020

A-302

Richard Prince. Back to Ihe garden. 2008. 80 x 120 inches (plate 4 in book)
-

r

-

-,

Yes Rasta! © Patrick Cariou. 2000. Published by Powerhouse books. inc.
5

C00021

A-303

Richard Prince, Charlie Company, 2(XJ8. J3 J x 1O() inches (plate 5 in hook)

Yes Rasta! ©Patrick Cariou, 2000. Published by Powerhouse books, inc.
6

C00022

A-304

Richard Prince, Meditarioll. 2008.58 x 46 inch es (plate 6 in book)

Yes RasIa! ©Patrick Cariou, 2000. Puhlished by Powerhouse books, inc.

7

C00023

A-305

~
-'

-'"

~
~

~

-

i
-

::-

~
,

:..-

t
~

~

'"
::::

,

~

,-

~

~

2:

.-

~

0

-

'5

~
-;:

r-

;;:

C

.t:

.5
V'.
,,:

-~
.c

S

j

'J

u

~

i'i

>.

""

>C

~

fi

~

.~

-:
.j

.>:

:..-

.~

a::

-'"

~

'0

~

"
-B

"

i:

J

'"
~

C00024

A-306

£..'

.,.

'r .

C00025

A-307

Richard Prince. Cookie Crumbles. 20{)R. 70 x 100 1/2 inches (plate 9 in book)

Yes Rasta! ©Patrick Cariou. 2000.

Publi~hed

by Powerhouse book.s. inc.

12

C00026

A-308

Richard Prince, C%r Me Mine. 2008.5 9114 x 801 12 inches (plate 10 in book)

Yes Rasta! ©Palrick Cariou, 2000, Publ ished by Powerhouse books. inc.
lJ

C00027

A-309

Richard Prince,Jl/lIles Browll Disco HIlII, 2()()S. IIJ() 1/2 x 154112 inches (plate 1t in book)

Yes Rasta! ©Patrick Cariou, 2000. Published by Powerhouse books, inc.
14

C00028

A-310

Richard Prince.lle de France , :W08. 77 :!..+ \ 100 1/2 inche~ (plate 1:2 in book)

Yes R8st8' ©P8trick Cariotl, 2000. Published by Powerhouse books. inc.

]5
C00029

A-311

Richard Prince. DjwllI Burnes. NalULie Barney. Rellh' Vivien (lild Romuine Brooks take OI·e,.
(he Guana/wl/i, 2008.521/4 x 90 1/2 inches (pJRte 14 in book)

I

Yes RastR! ©Patrick Cariou, 2000. Published by Powerhouse books. inc.

16

C00030

A-312

Richard Prince, Zipping rhe System. 2008. 71 1I2 x 110 1/2 inches (plate 15 in book)

Yes Rasta l ©Patrick Cariou. 2000. Published by Powerhouse books. inc.

17

C00031

A-313

Richard Prince, Tales of Brave U(vsses. 2008. 84 x 132 inches (plate 16 in book)

Yes Rasta! ©Patrick Cariou, 2000. Published by Powerhouse books, inc.
18

C00032

A-314

Richard Prince.li's Alf Over. 2008. 80 x 120 l/4 inches (plate 17 in hook)

Yes Rasta! ©Patrick Cariou. 2000. Published by Powerhouse books. inc.
19

C00033

A-315

Richard Prince, Specially round lYfidniglir. 200S. 100 1/2 x 154 inches (plate 18 in book)

Yes Rasta! ©Pat rick Cariou. 2000. Published by Powerhouse books, inc.

20
C00034

A-316

Richard Prince. Naked Confessions, 2000. 45114 x 46 inches (plate 19 in book)

Yes Ra~la! ©Patrick Cariou. 2()OO. Published by Powerhouse b oks. inc.

21
C00035

A-317

Richard Prince. The Other Side of the Island. 200K 84 x 132 inches (plate 20 in book)

Yes Rasta! ©Patrick Cariotl, 2000. Published by Powerhouse books. inc.

22
C00036

A-318

Richard Prince. Cheese aile! Crack en'. 2008.91 1/2 x 140 114 inches (plate 21 in book)

Yes Rasta I ©Patrick Cariou. 2000. Published by Powerhouse books. inc.

23
C00037

Richard Prince, Mr Jones, 2008. 9] 1/2 x 128 inches (pJate 22 in book)
(plate

Yes Rasta! ©Pa trick Cariou. 2000. Published by Powerhouse books, inc.
Rasta~

24
C00038

A-319

A-320

Richard Prince. book insert page

Yes Rasta! (DPatrick Cariou, 2000. Published by Powerhouse books, inc.

25

C00039

A-321

Richard Prince, Jllqllisilioll. 2008.1001 /2 x 77 inches (from www.gagosian .com)

Yes Rasla l © Patrick Cariou, 2000. Published by Powerhouse hooks, inc.

26

C00040

A-322

Richard Prince. 011 the Beach. Oil the Beach. 2008. SO x 9UA inches (from www.gagosian .com)

Yes Rasta! ©Patrick Cariou. :2000. Published by Powerhouse hooks. inc.

C00041

A-323

Richard Prince, from the series Cilnal

;OIlC

(photograph of the exhibition)

Yes Rasta' ©Patrick Cariou. 2000. Published by Powerhouse books, inc.

28
C00042

A-324

Richard Prince. from th<: series Calla/ ZOlle
(from Art Newspaper website - http: //www.rhcartnewsraper.com/article.asp?id=16821)

Yes Rasta! ©Patrick Cariuu. 2000. Publi shed by Powerhouse books. inc.

29
C00043

A-325

GAGO~IAN

GGP003781

GALLERY

CONFIDENTIAL

A-326

•

•

•

•

•

•

•

•

iC\.::...._~
A~IT
Deponent

CONFIDENTIAL

•

\ !5
_ _;

~ ~\ tJ OC ·

1).0" (OJ- q c
.0
Oat _ _ Rptr. ~
www.DEPOBOOItCOM

GGP004296

A-327

•

•

•

•

•

The Art Newspaper

•

•

•
Page 1 of2

-I
Home

News

Ml.sel.;;,s

Fe2:L:reS

Market

800«s

CcrservatlOr

:";.JRS

OPlnlO:1

SSUES

TV JOBS

ARCHIVE

WrlAT'$ ON

SUBSCRI6E ADV::RnSE
Wed'lesday 29 J;JI 09

Lawsui t filed against Richard Prince

Wa t ch on th eartnewsp aper.tv:

Images of Rastafariilns under dispute by photugrap her Patrick
cariou

R c" arc

~~ po ...:

... :~e VIP I cun!;~

Also by Andrew Goldstein :
R.C'"~a r c

p. nee a·:; :3a;;o5L flQh : back G\."e'
an

co:Jyr,gh l
PIe ce....., 2r: 5225 &2 :0 eXCle

An. cf :ne :)e:--ess 0.,
FIl"2'1c:al S :1,..2: :~ ':O~ces ga il er; wthorcwaJ
s

Share this:

rc GOOG e BOOI('Tl 2~J(

. -

oel.ICIOUS

I] fa:e::::ool': ~ $:..,,...,0 edu"on C Twmer
'11.05: re<ld (week)

t-.EW YORK French photograph er Patrick Canou has launched a lawsu
it

CnSiS I: CQ;1.se"va:

t./.cst reaJ (month)

Most rece"':'

p"ogrammes as a ~ot.,e r UK

aga inst Richard Prince. claiming trlat the artist improperly lifted
images from
Cariou 's photograph ic survey of Rastafarian culture for a recen1
series of
paintings. The suit fil ed to New York, also names as defendants
Larry
Gegosian Prince 's dealer whO displayed the sertes i:'l a recent
show titl ed
~ Canal Zone and publishing house Rizzoh , whiCh
co-produce d the
catalogue. In addition to seeking unspecified damages for copyright
Inf nngement the lawsuit a lso demands the -i mpounding destruction.
or other
dispos,tion " of all of the pa.nlings, unsold catalogues and preparatory

Ma or cO i. e ~ jj-c·c " l'"l: ,ar arIlS:s to work In De- ..

materials Involved in the making of th e works.

,a

M

,

CCiJ~se

0'"'

c:oses

Ma.c ' re-s:c' a; 'on p"ogramme fo: Maner ar pa ,n:1
19s
A.~:)jt. O:1

exceecs -eens a: the $econd Atr.ens

8!e:- na!e

0::0 Dlx "c_se !: eEl

~i: :'l C v ai!ec

and re-ope-, as

~

miJseum

Canou filed the su n after being alerted that the show conta ined
mages OZ
dre ad lo:ked men and woman seemingly copied from Yes Rasts
, a book
Cariou publ ished in 2000 after a decade of photograph ing Rastafanan
culture
in th e hintertands of Jamaica Accord in g to tn e laWSUit 20 oul
of the 22 works
in th e series-a pastiche- like ama lgam of Rastafarian images
porn photos
and palnter1y strokes recalling artists such as de KOOnl.lg and
PIC8SS0f eatured p hotographs from Cariou 's book The photog raphe c
', lawyel and
representa1ives for Pnnce and Mr Gagoslan all decl in ed to comment
on the
suit
Pnnce, whose work typically incorporate s images from a variety
of so urces
p~evlously incurred some resentmen ifor h,s practice
in :he ,980s
photograph er Garry Gross sued Prince ovef Spiritual Amenca.
a 1953 work
th at consisted of a blown-u;! c.opy of a plelure Gross took of
a nud e prepubesce nt Brooke Shi elds. Reportedly the suit was settl ed ou~
of court. A
series of enlarged Marlboroug h .dvertiseme nts that bro ugh1
Prince
internationa l celeon:y In the 1 990s-seJ!in g fo r millions of dolla
rs . a price his
work now routinely commancs -also created consternatio n
among the
lesser-k nown comme rcial pholograph ers who shot the cowboy-the
med
pictures, Prince himself, who has sa id of his work that he's ·practislng
WI1hout
a license", unapologeti cally problematis es issues of au tho rship
Th e essay for
th e show's catalog ue, for :nstance. was written by James Frey.
the
controversia l auL10 r who fabricated whole swathes of his 2003
"m er1o i r ~ , A
Million Little Pieces.
has

In the lawsuit, Cariou 's lawye rs argl..e t hat the appropnatio ns in
·Canal Zo ne"
are especially egregious because they involve the recent work
of a fellow
artist whose Images are the result of years of ethnograph ic res
ea rCh. not
simply the output of a commercia l photograph er. However th
e ~uestion
tacing the judge if the case goes to COurt w ill largely boil down
to whether
Pnnce s use of the im ages was transformat ive and therefore
pe rm ISS ·ble

http://www,theartnewspapeLcomiarticle,asp?id=1 6821

C00242

7/29/2009

•

A-328

•

•

•

The Art Newspaper

•

•

•

•

•
Page 2 of2

under the United States' doctrine of "fair use", which allows for limited
reproduction of copyright Imagery for the purpose of parody or other creative

ends. A significant recent case regarding the practice of appropriation in art
was Blanch v Koons, a 2006 action where fashion photographer Andrea
Blanch sued Jeff Koons for incorporating a photo she took of a woman's

lower legs for Allure magazine. The suit was decided in Koons's favour when
a judge found the artist's appropriation to be transformalive.

Home
News

Jobs
VVhat's On

Museums

Sister Edi1ions

Features

Retailers

Art Market

Subscribe to The Art Newspaper ...

About

Fairs

Testimonials

Books

Allemandi PublishIng

Current

Contact

RSS

Privacy Statement

TV

Soe Map

Searc~t~~~.u.~.~ The~~.~~~sEa.p..:.r.~!.~v.e ..
Contact the team at The Art Newspaper... .. ............_ ........__,

© The Art New:;paper 2009

http://www.theartnewspaper.comlarticle.asp?id=16821

C00243

7/29/2009

•

A-329

Filed 05 /18/10 Page 2 of 3

Case 1·0B-cv-11327-DAB DOCllment 54-27

Gagosian Gallery
Richard Prince:

Cana~

Zone

November a-December 20, 2008

3

4
2

1

5
aALl.ERY I

3

2

GALLERY 2

I

4

5

1

6

GALLERY 3

GALLERY 4

1

4

2

3

1

0

Gallery 1
1. PUHlpsie Green, 2006
Ink jet, acrylic, and collage on canvas
77 x 100 1/2 inches
2. The Other Side of the Island, 2008
Ink jet, acrylic, collage, oil crayon, charcoal on canvas
84 x 132 inches
3. James Brown Disco Ball, 2008
Ink jet, acrylic, and collage on canvas
100 1/2 x 154 1/2 inches
4. Specially Round Midnight, 2008
Collage, inkjet, and acrylic on canvas
100 1/2 x 154 inches

CONFIDENTIAL

GGP004298

A-330

Case 1:08-ev 11327 DAB D9GtlmeA-~7-· Filed 05/18/10 Page 3 of 3

5. Djuna Barnes, Natalie Barney, Renee Vivian and Roman Brooks take
over the Guahnahani, 2008
Inkjet, acrylic, and collage on canvas
52 1/8 K 90 1/2 inches
6. Back to the Garden, 2008
Ink jet, acrylic, and collage on canvas
80 K 120 inches
Gallexy 2
1. Mr. Jones, 20GS

Ink jet, acrylic, and collage on canvas
91 1/2 x 128 inches

2. Canal Zone, 2006
Ink jet, acrylic, and collage on canvas
107 x 119 1/2 inches
3. Tales of Brave Ulysses, 2006
Ink jet, acrylic, and collage on canvas
64 x 132 inches
4. On the Beach, On the Beach 2006
Ink jet, acrylic, and collage on canvas
59 x 90 1/4 inches
Gallexy 3

1. Escape GOat, 2008

Ink jet, acrylic, and collage on canvas
92 x 122 inches

2. Iia de France, 2008
Ink jet, acrylic, and collage on canvas
77 1/4 x 100 ~
3. MC9 (White Panthers), 200B
Ink jet, acrylic, and collage on canvas
98 x 132 inches
4. It's allover, 2008
Ink jet, acrylic, and collage on canvas
80 x 120 1/4 inches

5. Inquisition, 200S
Ink jet, acrylic, and collage on canvas
100 1/2 x 77 inches
Gallery 4

1. Dear Mary
1987 Buick Grand National
57 x 198 x 74 inches

CONFIDENTIAL

GGP004299

A-331

•

Ricllrd Prince - N~ember 8 - D~mber 20, 20\1 - Gagosian ~llery

CURRENT

PAST

UPCOMING

CONTACT

ARTISTS

GAGOS I AN

NEWS

S HOP

•

•

l'!ge 1 of2

PRIVATE

FEATURED WORKS

GALLERY

RICHARD PRINCE
HOR.l

CANAL ZONE

NOVEMB ER 8 - DECEMBER 20,

Updated Jul18th

LGoe

5 ; S7PM

2008

Richard Prince
5~5

We .. ! 241h Strt't"
York, NY iOOlJ
1 .?1/.1-l1.l111f IJ;;>.74} ,% Jl

Art i ~ t

b./tl If) (,

Info

I~(I",

HO t/ ro;' '!l ,(\

lIlt' ~., IIO I) w ,1I 11" c lrJ"·('d ()\'f" l.l, ,>009 t lom. ' f)h
JItI1

3,

)010

Gallery Information
Gallery Map

~lEW

PRESS RELEASE

VIEW WORK
ARTIST INFO

PRESS
GE;t(;losia n RSS Fee d

'The story was basically about a guy who lands in 5t Barth,
gets off the plane, is immediately told that there's been a

nuclear holocaust in the rest of the world, and he looks at
his family and says 'We can't go back. '"
--Richard Prince

Gagosian Ga llery is pleased to announce "cana l Zone, " an
exhibition of new paintings by Richard Prince.

Following his burlesque dialogues with the art of De
Kooning, Picasso, and Naughty Nurse pulp fiction, Prince has
turned to his own biographica l roots for inspiration. The
Panama Canal Zone, where he was born, was, until 1979, a
political exclave of the U.S., part-colonial com pany enclave
and part-socialist govemment, purportedly dom inated by
virulent separatist racism. In his characteristic manner,
Prince has transformed the former reality of his birthplace
into a fictive space: "Canal Zone" provides an anarchic
tropical scenario in which extreme emanations of the (white
American male) id - fleshy female pin-ups, Rastafarians
with massive dreadlocks, electric guitars, and virile black
bod ies - run riot.

Aside from their "storyboard" looks and their ability to

"<t

absorb information based on Prince's original "pitch," what is

o

evidently new in these paintings is the way they are,

U

<n

o

literally, "put together," like provisional magazine lay-outs.

http://www.gagosian.com!exhibitions/2008-11-08Jichard-princel

12114/2009

A-332

•

Richt!d Prince - N"'ember 8 - De~mber 20, 20~ - Gagosian C"Uery

•

•

I'rge 2 of2

Some Images, scanned from originals, are printed directly
onto the base canvas; others !Ire "dragged on," using e

primitive collage technique whereby printed figures are
roughly cut out, then the backs of those figures painted and
pasted directly onto the base canvas with a squeegee so
that the excess paint squirts out on and around the image.
On top of this are violently suggestive swipes and drips of
livid paint and scribbles of oil stick crayon which, together
8

with the comic, abstract

sign~feature5

that mask each

figure'S face, add to the powerful push-pull between degree
and effect. This has become a completely new way for

Prince to make a painting, where much of what shows up on
the surface is incidental to the process.

Thomas More's Utopia of 1518 described a fictional island in
the Atlantic Ocean that possessed a seemingly perfect sociopolitical-legal system. Since then, the term has been used
both for intentional communities attempting to create ideal

socletles and Ideals that are Impossible to achieve. Prince's
island and its unfettered imaginings that vacillate between
humorous delinquency and Sadeian excess, is a rather more
carnivalesque response to the original concept. "canal
Zone," this orgiastic, post-nuclear, new order for civilization
as we once knew it, takes its place among other great
modern visions of the apocalypse, from Joseph Conrad's

Heart of Darkness and Pablo Picasso's Guemica, to The
Beatles' "Helter Skelter" and Michel Houllebecq's prophetic

Platform.

Richard Princ::e was born in 1949 in the Panama canal
Zone and lives and works in upstate New York. His work has
been the subject of major exhibitions, including the Whitney
Museum of American Art, New York; the San Francisco
Museum of Modern Art; Museum Boijmans van Beuningen,
Rotterdam; Museum fUr Gegenwartskunst, Basel;

Kunstmuseum Woltsburg; Serpentine Gallery, London
(2008). A retrospective survey opened at the Solomon R.

Guggenheim Museum in 2007 and traveled to The Walker
Art Center, Minneapolis In 2008.

For more information, please contact Melissa Passman at
212.741.1111 or [e-mail].

N

or,
"""
o
o

U

http://www.gagosian.comlexhibitions/2008-11-08Jichard-princel

12114/2009

A-333

•

Ricrlrd Prince - N~ember 8 - De~mber 20, 20~ - Gagosian c111ery

MENU

•

I'ftge 1 of 1

E)<H I 8ITION

GAGOSIAN

GALLERY

BACK

11

13

I.
19

12

1.

1S

17

18

20

21

RlCHARD PRINCE
Back to the Garden, 2000

Inkjet, acryl ic
80

22

23

x 120

iind

collage on canvas

Inches (203.2 x 304.8 em)

2'

VIDEOS

r....

http://www.gagosian.com/exhibitions/2008-11-08Jichard-princel

12114/2009

•

A-334

•

•

. ---~

•

•

A-335

•

•

•

•

•

•

•

....