Galerie am Landesmuseum Joanneum und Ku ̈nstle-
rhaus Graz, Austria
1996 Young Americans: New American Art in the Saatchi
Collection; Saatchi Gallery, London, England
1999 Examining Pictures; Whitechapel Art Gallery, Lon-
don, England, traveling to Museum of Contemporary
Art, Chicago, Illinois
2000 Let’s Entertain; Walker Art Center, Minneapolis,
Minnesota, and traveled to Centre Georges Pompidou,
Paris, France
Selected Works
(Untitled) Three Women Looking the Same Direction, 1980
(Untitled) Entertainers, 1984
Super Heavy Santa, 1986
Live Free or Die, 1986
(Untitled) Cowboy, 1989
Good Revolution, 1990Further Reading
Noever, Peter.Richard Prince: The Girl Next Door. Stutt-
gart: Hatje Cantz Verlag, 2000.
O’Brien, Glenn, et. al.Human Nature. Los Angeles: Grey-
bull Press, 2001.
Phillips, Lisa.Richard Prince. New York: Harry N. Abrams,
1992.
Prince, Richard. 4 4. New York: Powerhouse Books,
1999.
Prince, Richard.Adult Comedy Action Drama. New York:
Scalo Books, 1995.
Prince, Richard,Why I Go to the Movies Alone, New York:
Tanam Press, 1995.PRINT PROCESSES
The turn of the nineteenth to twentieth century over-
saw the transition from the era of the artisan-pho-
tographer to the emergence of the photographic
industry, as a consequence of inventions that sepa-
rated the roles of chemist and photographer common
at photography’s beginnings. Richard Maddox’s
experiments (1871) with gelatin as dry emulsion guar-
anteed its sensitivity through long periods, making it
unnecessary to produce emulsions immediately be-
fore their exposure to light, which would make obso-
lete the major nineteenth century processes, wet
collodion (negatives) and albumen (prints). Addi-
tionally, the increasing availability of electric light
made printing easier and more consistent, eliminating
the dependence on the sun, and thus stimulating the
industry in a spiral of inventions that continued to
make photography easier.
Monochromatic Silver Processes
Starting with silver based monochromatic (black
and white) processes, two ways of printing exist:
by direct exposure to light (Printing Out Paper or
POP) and by developing following the exposure
(Developing Out Paper or DOP). In POP papers,
the emulsion of the negative is placed in direct con-
tact with that of the print material, exposing it to
light till the image is formed. As the image is only
formed by the action of light, this type of silver is
usually referred as photolithic silver. In DOP
papers, the print emulsion is exposed briefly, in
contact with the negative or more commonly by
projecting it through an enlarger, forming a non-
visible or latent image, that will become visible
through the action of the developing agent. Study-
ing both types under an electronic microscope one
can observe that in POP papers the image is formed
by small, highly separated spherical grains; while in
DOP, the silver appears with the shape of long
filaments, thus it is sometimes referred to as fila-
mentary silver. These microscopic differences have
macroscopic effects, as POP papers tend to show
warmer colors and DOP more neutral ones. The
POP papers can accept negatives with greater con-
trasts because the silver, which is reduced to become
part of the image, acts as a partial mask to avoid an
excess of exposure that would darken these areas. In
DOP the contrast is usually controlled through dif-
ferent types or grades of paper, manufactured to
obtain more or less contrast through the emulsion.
In the first decades of the twentieth century use of
the classical print process of the nineteenth, the albu-
men print, persisted. Evidently many studios and
professional photographers had a long experience
with albumen printing, and they did not abandon it
precipitously, despite the obvious advantages of the
new emulsions based on gelatin and collodion. The
first gelatin printing papers were POP, derived fromPRINT PROCESSES