Untitled (Fashion Helmet)

Description

Around the time he made this piece, Richard Prince was watching lots of movies that he rented from a World of Video store. Asked by a store employee what he did for a living, Prince answered that he was a thief—a statement whose possible truth belied its apparent irony. From 1977 until 1984, Prince presented as his own work rephotographed advertisements from magazines. Liberated from their initial context, the images, or details of images, took on a fantastic quality, one that kept in play the aura of desire, money, and power fuelling all consumer culture while adding dimensions of instability and true freedom that consumerism is designed to repress. In this photograph fashion sheaths its wearer like a condom, making a man-part out of a woman while cloaking manliness in a feminine accoutrement. Copyright infringement, an act of thievery in legal terms, is the most obvious but not the greatest transgression accomplished by Prince’s appropriation of publicly circulating photographs, an interest he retains to this day.

Untitled (Fashion Helmet)

Richard Prince

1982

Accession Number

121140

Medium

Chromogenic print

Dimensions

Image: 59.6 × 40.9 cm (23 1/2 × 16 1/8 in.); Paper: 60.9 × 50.8 cm (24 × 20 in.)

Classification

chromogenic color print

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Gift of Boardroom, Inc.

Background & Context

Background Story

Richard Princes Untitled (Fashion Helmet) from 1982 is a chromogenic color print that exemplifies the artists early practice of rephotographing mass-media images, in this case a fashion photograph that depicts a model wearing a helmet-like headpiece in a composition that collapses the distinction between fashion photography and the imagery of speed, danger, and technological armor that the helmet suggests. Prince, who was developing his practice of appropriation in the early 1980s, chose the fashion photograph as his source material because it embodies the contradictions of consumer culture, in which images designed to sell products also embody fantasies of power, beauty, and transformation that exceed the commercial purposes for which they were created. The fashion helmet of the title encapsulates these contradictions: a piece of protective equipment that has been transformed into a fashion accessory, a symbol of danger that has been aestheticized into an object of desire. The chromogenic color print, with its richly saturated colors and glossy surface, reproduces the visual quality of the original fashion photograph with a fidelity that makes the rephotograph virtually indistinguishable from the source, raising questions about the nature of authorship and originality that are central to Princes practice.

Cultural Impact

Princes early rephotographs of fashion images are foundational works in the history of appropriation art, and Untitled (Fashion Helmet) demonstrates the combination of visual sophistication and conceptual sharpness that makes his practice significant. The work influenced the development of appropriation art and the broader discourse on authorship and originality in postmodern art.

Why It Matters

A 1982 chromogenic color print by Prince rephotographing a fashion photograph of a helmet-like headpiece, collapsing the distinction between fashion photography and technological imagery while embodying the contradictions of consumer culture in which protection becomes aesthetic desire.