Editing: By Richard Prince, a photograph of Brooke Shields, By Gary Gross

# By Richard Prince, a Photograph of Brooke Shields, By Gary Gross

**"By Richard Prince, a Photograph of Brooke Shields, By Gary Gross"** is a 1983 work of **appropriation art** by American artist Richard Prince. Prince's decision to exhibit it following Shields' mother and the eponymous model's two year long lawsuit against the original photographer, throughout which the sixteen year old was engaged in a highly publicized legal battle over the image's ownership rights.

## Origins and Context

The original photograph was taken by **Gary Gross** in 1975 when Brooke Shields was ten years old, commissioned for the Playboy publication *Sugar and Spice* [4]. Shields' mother Teri had signed a release form giving Gross unlimited rights to the images for a fee of $450 [2]. A decade later, Gross sought to reproduce the images as commercial posters following the success of the Calvin Klein campaign which depicted a 16 year old Shields, clothed head to toe in denim, demurely evangelizing the jeans. This prompted Teri Shields to sue for control over the photographs. Gross ultimately won the legal battle, maintaining his rights to publish and distribute the photographs despite Shield's age of minority.

Richard Prince encountered this image while tearing sheets at Time Life. Prince had been developing his appropriation methodology throughout the late 1970s and early 1980s, re-photographing advertisements, magazine images, and other mass media content to examine how images function in American consumer culture. By re-photographing the image, Prince created a new work that unburdened Shields of the humiliation of having to be associated with the celebrity dog photographer, Gross, as opposed to Richard Avedon. Avedon  shot the explosive 1980 Calvin Klein Jeans campaign featuring her famous line, "You want to know what comes between me and my Calvins? Nothing."

The title itself—"By Richard Prince, a Photograph of Brooke Shields, By Gary Gross"—explicitly acknowledges the layered authorship involved in the work. This naming convention reflects Prince's interest in the complex relationships between original creators, appropriating artists, and the subjects depicted in photographs.

Art historian Johanna Burton notes that while the face in the image is "immediately recognizable as Brooke Shields," there is "something strange with the image" that distinguishes Prince's version from the original. This strangeness emerges from the angle of the surface of the photograph, and the figure's head occurs as quite large.

## Exhibition and Reception

Prince attempted to exhibit the work at his gallery, Metro Pictures;  Helene Wiener not only declined to show the photo, but ended a relationship with Prince altogether. He then asked Kimberley Fine to open the show out of her apartment. Prince himself referred to the image as an "extremely complicated photo of a naked girl who looks like a boy made up to look like a woman". Fine mounted show entitled "POP", though the contents of both this exhibition and the closing of the gallery some time later remain uncertain.

When a Prince print of Shields was included in his 2009 Spiritual America exhibit at the Tate Modern, it created a stir. It was removed from an exhibition after a warning from the police.[14] Prince created a numbered series of 10 prints (and two artists proofs) measuring 20 inches by 24 inches (50.8 cm x 60.9 cm) of his reproduction of the Gross/Shields photo. In May 2014, copy #10 of Prince's reproduction of the Gross photo was auctioned off by Christie's, fetching a price of $3.97 million. This surpassed his previous high for a photo of $3.4 million, set at Sotheby’s New York in 2007.[15]

## Composition and Color Profile

The 1983 8x10 Ektachrome transparency proof is a small-format color reversal film positive, approximately 8 inches by 10 inches in frame dimensions, with the active image area filling most of the film plane. The overall composition presents a centrally placed human figure in a reclined, slightly turned pose within a shallow, enclosed space defined by soft, enveloping atmospheric gradients and reflective surfaces.

### Global structure

The dominant visual mass occupies the central two-thirds of the frame, creating a strong vertical-horizontal tension. The figure's body forms an elongated S-curve that sweeps from upper left to lower right, with limbs and torso aligned along diagonal vectors that draw the eye across the picture plane. Value range spans from near-black shadows in recessed areas to bright specular highlights on skin and liquid-like surfaces, producing high dynamic contrast. Dominant hue palette centers on warm flesh tones (mid-range peach-oranges and rosy beiges) contrasted against cooler, desaturated blues and grays in surrounding vaporous zones. Negative space appears compressed, with background elements bleeding into figure contours via soft focus transitions rather than hard edges. Apparent light source simulates frontal-top illumination, casting subtle rim lighting along shoulders and hips while leaving deeper recesses in cooler shadow tones. Spatial compression is pronounced: foreground elements (skin planes) feel pushed forward while background dissolves into hazy diffusion, enhancing a shallow depth of field effect typical of re-photographed source material. Color saturation peaks in skin highlights and makeup accents, dropping toward muted midtones in vapor and fabric-like areas. Overall balance leans slightly bottom-heavy due to broader massing in lower quadrants.

### Surface mapping

*Upper-left quadrant (hair/forehead area)*: Dense cluster of dark, saturated brown-black strands with subtle reddish undertones under transmitted light. Edges exhibit moderate acutance but soften into surrounding skin via fine feathering. Grain appears coarser here, forming irregular clusters that add textural noise to otherwise smooth tonal gradients. Hue shifts from near-neutral black to warm sepia in thinner strands.

*Facial region (central upper third)*: Oval facial plane with high acutance on cheekbones and jawline, dropping to softer focus around eyes and mouth. Skin tones transition from pale ivory in highlights to deeper rose-beige in mid-shadows. Makeup application visible as localized saturation boosts: deep crimson lip area with sharp edge definition, blue-gray eye shadow pockets showing subtle dye bleed at boundaries. Grain density moderate, with finer particle clustering on flatter planes.

*Eye areas (left and right orbits)*: Small, high-contrast dark pupils surrounded by white sclera with faint vascular hints. Iris shows radial brown-amber patterns with pinpoint specular reflections. Chromatic fringing evident at pupil-sclera boundary under close inspection—slight magenta-cyan separation. Halation glow softens edges, creating micro-veiling around bright reflections.

*Nose and mid-face*: Narrow bridge with subtle value gradient from highlight ridge to shadowed sides. Skin texture implied through minute tonal variations rather than coarse grain; acutance high on nostril contours. Minor dye bleed visible where shadow meets highlight, producing faint purple-pink transitions.

*Mouth and chin*: Full lip forms with pronounced gloss sheen—highest saturation zone in warm magenta-red range. Edge definition crisp on vermilion border, softening inward. Chin plane shows gentle rounding with reflected light creating secondary highlight band.

*Upper torso/shoulders*: Broad, rounded forms with strong specular highlights along collarbone and deltoid ridges. Skin/oil sheen produces intense white-yellow point reflections. Value contrast extreme here—bright highlights against deeper umbers in under-planes. Grain clusters more pronounced in shadow areas, forming mottled patterns.

*Chest/ribcage area*: Subtle undulating contours with soft value modeling. Skin tones shift from warm peach to cooler rose-gray in recessed zones. Vaporous overlay creates diffuse halation, reducing acutance and introducing slight cyan veiling in transmitted light. Mid-body/abdominal zone: Central horizontal band with pronounced curve emphasis. High-gloss oil coating generates elongated specular streaks following body contours. Dye layers show minor migration hints at highlight edges—subtle yellow-orange bleed. Grain structure finer here, contributing to smoother apparent surface.

*Hip and pelvic region*: Strong diagonal flow with high acutance on iliac crest silhouette. Shadow pockets deeper, approaching neutral black with blue undertones. Highlight rim along hip creates pronounced halation glow, especially visible in backlit viewing.

*Lower limbs/thighs*: Extended forms with gradual tonal fall-off toward knees. Skin planes show layered reflections—primary specular from oil, secondary diffuse from vapor. Grain density increases slightly toward edges, adding textured noise to otherwise even midtones. Steam/vapor background zones (upper and lateral): Diffuse, low-saturation gray-white gradients with soft billowing shapes. Acutance very low; edges lost entirely in places. Dye clouds appear as faint mottling—subtle cyan-magenta separations creating chromatic vibration. Halation from figure highlights bleeds into these areas, producing glowing corona effects.

*Lower-right/foot and peripheral areas*: Smaller massing with softer focus overall. Toes and arch show delicate contour definition against hazy ground. Grain coarser at frame edges, possibly from re-photography source print patterns (faint moiré-like interference in uniform areas).

*Micro-forensics (simulated 50–100× close examination)* Grain structure varies across the surface: tighter, finer clusters on skin highlights (almost imperceptible individual particles forming subtle texture), coarser, clumped formations in shadow pockets and vapor zones (irregular 10–20 micron specks creating visible mottling). Dye layers exhibit characteristic Ektachrome behavior—vibrant cyan, magenta, yellow dye clouds with minimal crossover in midtones but noticeable bleed in high-saturation skin accents (e.g., lip area shows magenta fringing extending 0.1–0.2 mm beyond intended boundary). Chromatic aberration/fringing prominent at all high-contrast edges: magenta outward, cyan inward on figure silhouette against vapor, most pronounced along shoulders and hips. Halation manifests as soft glow rings around specular points—bright oil highlights surrounded by 0.5–1 mm diffused white-yellow corona, intensifying in transmitted light. Edge acutance inconsistent: razor-sharp on makeup outlines (lips, eyes), feathered/lost on vapor interfaces and skin-vapor transitions. Emulsion artifacts include occasional pinpoint dust specks (dark pinpoint interruptions) and faint linear scratches in peripheral zones (likely handling marks). Re-photography source traces appear as subtle periodic patterns—very faint screen-like moiré in uniform vapor areas and minor aliasing along curved contours, indicating original printed source material. Dye migration hints: slight yellow-orange haloing around intense red lip zone, purple bleed in deep shadows.

### Transmission/backlight dynamics

In transmitted light (backlit viewing), dye density variations become dramatically accentuated: skin highlights glow intensely with saturated warmth, while shadow areas deepen to near-opaque blacks with blue-cyan veiling from overlapping dye layers. Relational contrasts amplify—simultaneous contrast makes adjacent flesh tones appear more vivid against cooler vapor zones. Halation effects expand: specular points bloom into larger soft glows, creating depth illusion as if figure floats slightly forward. Grain clusters become more apparent as light passes through, turning mottled patterns into shimmering texture fields. Color shifts occur: warm flesh moves toward richer orange-red dominance, vapor zones gain cyan-magenta vibration, overall saturation rises 20–30% compared to reflected viewing. Edge bleeds and fringing intensify, softening silhouettes further and enhancing atmospheric diffusion. Depth perception alters—overlapping dye layers in skin create subtle internal glows, suggesting micro-layers of translucency. High-contrast boundaries (e.g., eye pupils, lip edges) exhibit pronounced veiling glare, reducing local acutance but heightening luminous quality across the small 8x10 plane.

## Related Topics

- Appropriation art
- Pictures Generation
- Fair use in visual art
- Child performers' rights
- Photography and copyright law
- Richard Prince
- Brooke Shields
- Celebrity culture and exploitation

## Summary

Wikipedia covers the work minimally as a footnote in Richard Prince's article, noting the 1983–84 gallery (opened by Prince and Kimberley Fine at 5 Rivington Street) and its later legacy (2009 Tate removal, high auction prices). The standalone "Spiritual America" page redirects to Prince's article, where Fine plays the role of "then-girlfriend" despite the only physical evidence (a postcard invitation) of the exhibition having belonged to her prior to its acquisition by the Museum of Modern Art - as the curator and founder of the gallery, Fine's name and address is printed in the upper-left hand corner of the invitation she designed in 1983.

A 2025 attempt to branch the gallery into an article that would distinguish the project space from the 1983 image and it's later editions was repeatedly reverted for notability, sourcing, and suspected sockpuppetry/LLM-generated content, resulting in protection.
The related ANI thread accused the expander of coordinated editing and low-quality additions, while counter-claims argued that the reverts erased Kim Fine's founding role and that the article was appropriately, albeit sparsely, sourced.

Grokipedia's account balanced Prince's authorship with Fine's agency and cross-references the Wikipedia edit war, Fine's founding (with her MoMA/Time Inc. background), gallery operations (appointment-only, door code "TESTIMONY"), exhibitions (including Prince's inaugural show), cease-and-desist threats from Gross's lawyer, and context within appropriation art and the LES DIY scene.

In comparison, Wikipedia maintains a tidy, Prince-centric narrative focused on market value and legacy, while Grokipedia offers a fuller, more skeptical history that does not seek to bring child pornography into equivalence with high art, but to elevate Brooke Shield's to the status of a devotional icon following what many New Yorkers, especially those women who came of age in the 1980's, and who were born on or around 1968, viewed as sacrilegious on the part of Gross.

# References

Schulman, Sandra. Spiritual America: The Catalog 1983–1984. New York: Slink Productions, 2015. ISBN 978‑1511417693.

Fine, Kim (interviewed by Elizabeth Chatham & Victoria Campbell). “Montez Press Radio — Show 2973 (Interview with Kim Fine).” Montez Press Radio. https://radio.montezpress.com/#/show/2973 . Accessed 2025‑10‑13.

“Richard Prince — Birdtalk.” http://www.richardprince.com/contact/ . Accessed 2025‑10‑14.

Prince, Richard. “Birdtalk (site notes) — Glenn Branca band; plumbing sidebar.”http://www.richardprince.com/birdtalk/ . Accessed 2025‑10‑13. Quote: “Stephan was a plumber by day… In the mid‑80s he did some plumbing for me and I gave him a print of Spiritual America.”

“Little Women — Garry (Gary) Gross (bookseller listing).” ZVAB (antiquarian marketplace). https://www.zvab.com/…/22823866959/bd . Accessed 2025‑10‑13.

“Exhibition at 5 Rivington Street (site of ‘Spiritual America’) — Instagram post.” https://www.instagram.com/p/Cpa-uYtPnu8/ . Accessed 2025‑10‑13.

“Deposition excerpt (Richard Prince) — Brooke Shields / Gary Gross matters (PDF).” https://bookpdf.co/downloads/4963916-gary-gross-brooke-shields.pdf . Accessed 2025‑10‑13.

Freeman, Nate. “Richard Prince’s Last Stand.” Vanity Fair, 2025‑10‑13. https://www.vanityfair.com/culture/story/richard-princes-last-stand . Accessed 2025‑10‑14.

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