ALEX PRAGER: Where We Went From There

© 2010 Alex Prager
Alex Prager (American, born 1979) Desiree from the series The Big Valley. 2008. Chromogenic color print, 36 x 48 1/2" (91.4 x 123.2 cm) The Museum of Modern Art, New York. Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art, Linda and Gregory Fischbach, and William S. Susman and Emily Glasser © 2010 Alex Prager, courtesy Yancey Richardson Gallery

There are moments throughout the history of art, when, marveling at the latest aesthetic affront, the public, the critics, and even fellow artists have thrown up their hands and asked, “Where can we possibly go from here?”

And as art has grown ever more referential and every medium, self-referential— when there is nary an image that does not lay claim to a legacy of irony that is now generations deep: well: what can possibly come next?

Answer: Alex Prager.

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ESSAY: How to Say Hirst Was First

Who's on first?

Heraclitus was right. When the waters are everflowing, you can never step into the same river twice.

It is therefore, always safe to claim that some work of art, some event, some person, is a “first” — nothing will be the same after so and so, after thus and such, after this.

The controversial Damien Hirst sale at Sotheby’s in 2008 was a first: the contemporary art market would never be the same afterward.

Go ahead and say that, Google it: you won’t lack for support. The press was, after all, in a frenzy, mounting stories about the show, Beautiful in My Mind Forever, and the subsequent two day sale, onto the background blitz of financial failures and the Lehman Brothers collapse.

But what kind of “first” was it?

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