Stephen Prina

galesburg, illinois+

May 6 - June 18, 2016

Opening Reception: Friday, May 6th, 6-8pm

456 W 18th Street



Petzel Gallery is pleased to announce a new exhibition of works by Stephen Prina who is based in Los Angeles and Cambridge. This is his eighth solo exhibition with the gallery. This body of work was initiated at the Kunst Halle Sankt Gallen (September 2015) with a second iteration presented at the Museum Kurhaus Kleve (January 2016). The exhibition of galesburg, illinois+ at Petzel Gallery marks its US premier. The show is accompanied by a catalog published by Walther König with essays by Susanne Figner, Giovanni Carmine, Alex Kitnick and an interview between Isabelle Graw and Stephen Prina.

At Petzel Gallery newly created works and appropriated material such as collectible ceramics, souvenirs and art reproductions conglomerate into a kaleidoscopic view of Stephen Prina’s place of birth, Galesburg, Illinois. galesburg, illinois+ is not an emotional representation of the artist’s hometown. Rather we find ourselves within a system of suggested references and personal predilections that follows an artistic logic. The town serves as a projection surface for personal memories and at the same time embeds the artist’s biography in a wider historical and cultural context.

At the center of the exhibition’s referential web is the Harbor Lights Supper Club, a restaurant that has now disappeared, where the artist performed as a musician when he was young. Starting out from a matchbook with the sketched outlines of the building and the telephone number for table reservations, Prina develops the entire project of galesburg, illinois+. What seemingly looks like an insignificant object becomes the cardinal point from which a spiral of thoughts unfurls. The presence of this memorabilia fulfills several functions: as a ready-made it attests to a conceptual approach and
 as a subject it serves as a perfect linking motif for the whole narration. In line with Prina’s working method – which has always been concerned with modes of reproduction and distribution – we find the yellow matchbook at different dimensions as decoration for fabric, which can be seen as connecting tissue in several elements of the exhibition, such as in showcases, frames and on tables and cushions.

Streaming through the gallery, Prina’s thirteen-track sound installation Ode to Galesburg forms the emotional heart of the project. The music has an alluring effect in the exhibition space and is an invitation to linger. This is a concept album that Prina sings to us, containing folk songs from Carl Sandburg’s The American Songbag and a cover of a Carole King’s “It’s Too Late,” among others. His voice and the guitar sounds, but also the rattling of a passing train, fill the room from nine loudspeakers.

The + in the exhibition title is comprised of the artist’s blind paintings, first created as a single element in 2006 and included in his 2008 Whitney Biennial installation, now are reconfigured to drape over beer hall tables while buttressed and secured by early Twentieth-Century Rookwood Pottery bookends. It expands further with five works from the cycle The Exquisite Corpse: The Complete Paintings of Manet, which Prina indexically draws on the complete oeuvre of Edouard Manet and reinterprets each piece in ink washes on rag paper.

Stephen Prina lives and works in Los Angeles and Cambridge, where he is a Professor in the department of the Visual and Environmental Studies at Harvard University. Solo exhibitions include Museum Kurhaus Kleve, Kleve (2016); Kunst Halle Sankt Gallen, Sankt Gallen (2015); Los Angeles County Museum of Art, Los Angeles (2013); Vienna Secession, Vienna; Kölnischer Kunstverein, Cologne (2011); Contemporary Art Museum St. Louis (2010); Centro Andaluz de Arte Contemporaneo, Sevilla; Staatliche Kunsthalle Baden-Baden (2008) Frankfurter Kunstverein, Frankurt am Main (2000); Museum Boijmans-van Beuningen, Rotterdam (1992) The Renaissance Society, Chicago (1989). Group exhibitions (selection): Mumok, Vienna; Museum Brandhorst, Munich (2015/2016); The Hammer Museum, Los Angeles (2014); Contemporary Arts Museum Houston (2013); Palais de Tokyo, Paris (2012); Museum of Contemporary Art Chicago; Walker Art Center, Minneapolis (2012); Whitney Biennial, New York (2008); Documenta IX, Kassel; Museum of Modern Art, New York (1992); Carnegie International, Pittsburgh (1991); Venice Biennale (1990) Museum of Contemporary Art, Los Angeles (1989); Institute of Contemporary Art, Boston; The Museum of Fine Arts, Boston (1988).

Petzel Gallery is located at 456 West 18th Street. Gallery hours are Tuesday through Saturday from 10:00 AM – 6:00 PM.
For press inquiries, please contact Janine Latham at janine@petzel.com, or call (212) 680-9467.


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Related Materials

Stephen Prina

The Second Sentence of Everything I Read Is You

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The catalogue was published on the occasion of the exhibition Stephen Prina: The Second Sentence of Everything I Read Is You,
at the Staatliche Kunshalle Baden-Baden, July 19 - October 5, 2008
and at the Centro Andaluz de Arte Contemporáneo, Seville, January 22 - March, 2009

Preface by Karola Grässlin
"The Great Persuader" by Astrid Wege
"How Far We've Come From The River", a conversation between Bennett Simpson and Stephen Prina

Published by Verlag der Buchhandlung, Walther König, Köln

© 2008 Stephen Prina, Staatliche Kunshalle Baden, Verlag der Buchhandlung

ISBN: 978-3865605122






Stephen Prina

Exquisite Corpses: The Complete paintings of Manet 57 through 66 of 556

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This catalogue was published on the occasion of the exhibition Stephen Prina, Exquisite Corpses: The Complete paintings of Manet 57 through 66 of 556, at Karsten Schubert gallery, London, October 3 - 28, 1989

Essay by Timothy Martin

Published by Karsten Schubert Ltd, October 3-28 1989, London

© 1989 Timothy Martin and Karsten Schubert Ltd

ISBN: 1-87059011-2

Stephen Prina

"It was the best he could do at the moment."

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This catalogue was published on the occasion of the exhibition Stephen Prina, "It was the best he could do at the moment.", at the Museum Boymans-van Beuningen, Rotterdam, March 29 - May 10, 1992

"The Fragmentation of the Symbol: On Stephen Prina" by Martin Prinzhorn
"To find words" by Lynne Tillman
"The Transcended Gallery: Stephen Prina's Mailing List" by Werner Lippert
"Negative Center: The work of Ad Reinhardt" by Stephen Prina

Published by Museum Boymans-van Beuningen, Rotterdam

© Museum Boymans-van Beuningen, Stephen Prina, and the authors

ISBN: 90-6918-094-4

Stephen Prina

As He Remembered It

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This catalogue was published on the occasion of the exhibition Stephen Prina: As He Remembered It, at the Secession, May 27 - August 21, 2011

Preface by András Pálffy, Secession President
"Rhapsodie in Pink: Stephen Prina Paints" by Thomas Lawson
"Modus Operandi: Interview with Stephen Prina" by Annette Südbeck (Vienna, May 6, 2011)

Published by Revolver Publishing

© 2011 Secession, Stephen Prina, the authors and the photographer

ISBN: 978-3-902592-44-6

Stephen Prina

galesburg, illinois+

View More

This catalogue is published on the occasion of the exhibitions

Stephen Prina, galesburg, illinois+

Kunst Halle Sankt Gallen
September 26 - November 29, 2015

Museum Kurhaus Kleve
January 30 - April 17, 2016

Petzel Gallery
May 6 - June 18, 2016


"Life in a Forest of References," a conversation between Isabelle Graw and Stephen Prina
"Cover or Appropriate" by Alex Kitnick
"Intuition Rigor+" by Giovanni Carmine

Published by Walther König, Kunst Halle Sankt Gallen, Museum Kurhaus Kleve, and Madre Napoli

© 2016 Stephen Prina, Museum Kurhaus Kleve, the authors, and Verlag der Buchhandlung Walther König

ISBN: 978-3-86335-928-7

Stephen Prina

Concerto for Modern, Movie, and Pop Music for Ten Instruments and Voice

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This publication accompanies the exhibition Stephen Prina: Modern Movie Pop and the concert, Concerto for Modern, Movie, and Pop Music for Ten Instruments and Voice, at the Contemporary Art Museum, St. Louis, January 22 - April 11, 2010

This publication and recording is supported by Galerie Gisela Capitain, Cologne, and Friedrich Petzel Gallery, New York

Published by the Contemporary Art Museum St. Louis

© 2010 All Stephen Prina

ISBN: 978-0977752881

Stephen Prina

Limited Edition Print for The Kitchen

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Please click here for further information

Stephen Prina
The Kitchen, April 22, 2015
2015
Pigment print on Epson HotPress Natural Paper, overlaid with screen-printed ultraviolet cured gloss ink
39 3/4 x 12 3/4 inches, unframed
Edition of 25
$1,000 plus tax

Stephen Prina created this limited edition print on the occasion of performances at The Kitchen in Spring 2015. He played the guitar depicted in the print in a performance of his composition Concerto for Modern, Movie, and Pop Music for Ten Instruments and Voice as joined by an ensemble organized by Christopher McIntyre. This work was inspired by a supposedly singular Anton Webern piece in which Prina detected the infamous “Jimi Hendrix chord” used in Purple Haze and other of his songs from the 1960s. Prina used the depicted white Fender Stratocaster electric guitar and guitar strap in reference to Hendrix, who like Prina also played it left-handed.

Proceeds from the sale of this limited-edition will support artists whose groundbreaking, genre-defying work appears at The Kitchen throughout the year. Print courtesy of the Artist and Petzel Gallery. Print editioning by Axelle Fine Art and Ribouli Digital.

Stephen Prina

We Represent Ourselves to the World

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The publication contains the following texts:
"From Frame to Page: On Galerie Max Hetzler" by Janelle Porter
"The Mobile Site" by James Meyer
"A Collectors as Photographer" by Wilhelm Schürmann

Published by UCLA Hammer Museum in collaboration with the Department of Art, Critical and Curatorial Studies, University of California, Los Angeles

© 2004 The Regents of the University of California

ISBN: 0-943739-26-8