Richard Prince established his reputation by mining the mass media to present an outlook on American culture that is at once humorous, provocative and ambiguous. Frequently re-photographing images from magazines, Prince served up advertising imagery, old jokes, cartoons as well as "girlfriend" snapshots from biker magazines and Marlboro "cowboys", unabashedly celebrating low culture in the context of high art. Prince's new work is informed by a critical shift in his personal geography.

Three years ago, he moved from New York City to rural, upstate New York. While he maintains his interest in consumer culture, Prince's camera is now often focused on the real world around him. There, he continues to find evidence of the "mainstream-cults" that have long fueled his work. Prince speaks of photographing "the girl next door," and, indeed, his backyard basketball hoops and swimming pools, pre-fab storage units and chain restaurants, beer busts and barbecues witness a broader American landscape. As always, Prince embraces the common and everyday. His subjects are not precious; rather, they are democratic and easily accessible. Prince's recent sculptural ventures also draw upon the everyday objects he sees around him: resin flip-flops and planters made from rubber tires.