Appropriation Art

Installation view, 'Richard Prince: New Portraits' (2014), Gagosian Gallery, New York (all photos by Sean Fader)

Richard Prince unwittingly gave an emerging conceptual artist his Gagosian debut. The appropriation artist’s current Gagosian exhibition New Portraits — which Hyperallergic’s Tiernan Morgan dismissed as “an amusing exercise, but it doesn’t translate as great art” — features an Instagram photo from Sean Fader’s social media art piece “#wishingpelt.”

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Richard Prince, Inc.

by Tiernan Morgan on October 9, 2014

Installation view,

Richard Prince: New Portraits consists of 37 of the artist’s so-called “Instagram paintings,” each of which, if we’re to believe an anonymous source of the New York Post, are selling for around $100,000. The series, which includes photographs of celebrities such as Kate Moss, Pamela Anderson, Elizabeth Jagger, and Sky Ferreira, feels cheap and underwhelming.

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Richard Prince: Back in Black!

by Cat Weaver on April 26, 2013

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Wednesday night, a decision by a three-judge appellate court panel marked a turnaround in the closely watched copyright infringement case Cariou v. Prince, pitting photographer Patrick Cariou against art star Richard Prince. Hyperallergic consults intellectual property expert Peter Friedman on the new outcome, with further exclusive commentary from Cariou’s attorney.

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Post image for Has Deborah Kass Saved Warhol Appropriation?

PITTSBURGH – In her mid-career retrospective Deborah Kass: Before and Happily Ever After at the Andy Warhol Museum, Deborah Kass accomplishes the seemingly impossible by breathing new life and critical ideas into the appropriation of Andy Warhol’s work.

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My Chuck Close Problem

by Scott Blake on July 9, 2012

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When one of the world’s richest living artists orders you to stop making art, you do it. Or do you? That is what Chuck Close has done to me. In response, I have developed a 100-year plan that will allow my digital art to outlive any threats of legal action.

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Post image for Hank Willis Thomas Clarifies His Position on Source Accreditation

Artist Hank Willis Thomas, in an e-mailed response to my December 17 article, “Lawyers Weigh In on Appropriation Art and Fair Use,” made this clarification …

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Post image for Lawyers Weigh In on Appropriation Art and Fair Use

The New York City Bar Association’s “What We Talk About When We Talk About Appropriation: Contemporary Art After Cariou v. Prince” was, as billed, “a frank discussion of fair use and artistic practice.” And it was, indeed, frank, with all six panelists speaking plainly and tough audience questions encouraged. But it was also, clouded and meandering, the way that all intellectual property discussions are.

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Post image for Photo Preview of Cory Arcangel at the Whitney

Tomorrow marks the opening of Cory Arcangel: Pro Tools, a full floor of new and recent work by the artist at the Whitney Museum. Lucky you, you get to see it a day early! I previewed the exhibition and came back with a photo essay featuring bowling video games, photoshop gradients, bad golfers and epic sunglasses.

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Post image for Law vs. Art Criticism: Judging Appropriation Art

The recent Cariou v Prince District Court decision has brought to the fore, once and for all, the elephant in the art world and courtroom, Fair Use, which had, until now, managed to avoid close scrutiny in the popular press.

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Post image for Will Richard Prince Have to Destroy Rasta Photos?

The result of a lawsuit levied against Richard Prince’s “Canal Zone” series of photos has determined that the artist may be forced to destroy the works, as they violate copyright laws protecting the series of photographs appropriated by Prince, “Yes Rasta” by French photographer Patrick Cariou. In the end, what happens to Prince’s work is up to Cariou. The court case revolved around whether or not Prince’s alterations of the Cariou’s photos constituted total transformations of the originals, and thus protected under fair use laws. The answer handed down by the court was that Prince’s works didn’t count as fair use of the images — in a word, Prince’s works were too derivative.

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