Richard Prince
[Artist, b. 1949, Panama Canal Zone, lives in New York.]

 My limitations or mistakes become a kind of freedom. Like when I photographed black-and-white pictures with color film, as I did in Three Women Looking in the Same Direction. Or when I inadvertently overexposed the film and got a bleached-out look, which happened in a recent “gang” called Live Free or Die. These mistakes always happen because I’m not a photographer. Practicing without a license is the way it’s been referred to. 
 By generating what appears to be a double, it might be possible to represent what the original photograph or picture imagined... More technological than mechanical, more a simulation than an expression, the result is a photograph that’s the closest thing to the real thing. And since I feel a bit more comfortable, perhaps more reassured around a picture that appears to be truer than it really is, I find the best way for me to make it real is to make it again, and making it again is enough for me and certainly, personally speaking, almost me. 
 The other day, I saw a set of photographs I took of fountain pens in 1978 — what the hell was I thinking? It’s so precise. It looks as if I was in control. I wasn’t in control. I didn’t know what I was doing. I was so young. 
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