Foundational Concept
The current state of this essay is the result of a conjuncture between a large number of people. Their comings and goings. Our exchanges and ellipses. *To what extent should one trust that a work of art representing a malicious act is free of malicious intent when the representation is faithful?* Maybe it's more important to know who you're dealing with than to know what you're looking at. On Tue, Apr 4, 2023 at 9:54 AM Owen Deutsch <owen@richardprince.com> wrote:
Hi Elizabeth, I was forwarded your email to Gagosian about the edition size of Spiritual America. It is indeed an edition of 10 with 2 AP's, and your email seems to confirm that/doesn't contradict that. Any others will either be exhibition copies or are different sizes/images. I gather you're looking for the 2nd AP? We don't have a record of who has collected this work. best, owen. A few minutes later the flying monkey returns an update, also vague, before disappearing in a puff of gaslight:
re:exhibition copy. This was never for sale, and we do have this in our archive. For clarification.
Conceptual Framework
"an ordinary object elevated to the dignity of a work of art by an artist's act of choice"
Convergence
Do you know what a shooting gallery is? This was the first thing Kim Fine asked me when she picked up my call. Her phone number comes from the King of the Art World. Robin Winters is a rake, but in the summer of 2022 he's the only person who knows art, lives art and The readymade is a relationship between naming and owning, claiming and also knowing at face value.
Mediating perspective
"[I]t never happens that unconscious work supplies ready-made the result of a lengthy calculation”
Contemporary Relevance
Counterpoint
Implication