Richard Corman Portrait Prints

Richard Corman and Alec Monopoly Madonna, 2013 Color photographic monotype on archival pigment paper Hand signed, dated and numbered 1/1 by Richard Corman on the front 26 × 20 inches...

Richard Corman Madonna (Pink), 2019 Color Silkscreen on Paper with Deckled Edges Hand signed and numbered AP 1/3 by Richard Corman on the front (this is one of only three Artist's Proofs, aside from the regular edition of eight) 24 x 24.1 x 0.5 inch Frame Included This beautifully designed color silkscreen was created by photographer Richard Corman, in collaboration with master printmaker Gary Lichtenstein. It is based on an iconic photograph that Richard Corman took of Madonna in 1983 - on the brink of success, but before she became the "Madonna" the world would come to know - one of a series of images, all taken in one now-famous photo shoot, that are now considered the most iconic, revealing and celebrated images ever taken of the Pop star. The printer had to first deconstruct the iconic photograph and then reconstruct it into a color silkscreen - creating a new original work. A true collaboration between the master photographer and master printmaker! Richard Corman, in explaining why they chose the color for this special collaboration, noted that it was the same Prada pink color as the cover of the limited edition monograph of Madonna polaroid photos published years earlier. (though depending on the light on the wall, and your eye, the color of the present print can variously appear to be pink, red or coral!) Hand signed and numbered AP 1/3 on the lower front (this is a rare Artist's Proof, aside from the regular edition of only 8) A true limited edition collectible silkscreen and a must have for all Madonna fans and followers. Measurements: Frame: 24 x 24.1 x 0.5 inches Sheet: 18 x 18 inches Richard Corman on his iconic "Madonna" photographs from the early 1980s: My mother was Cis Corman, a renowned casting director in New York City. In the summer of 1982 she was casting The Last Temptation of Christ for Martin Scorsese and called me to say they had just tested a girl for the part of the Virgin Mary. She said, “You must meet this girl — she’s an original.” I was 28 and had just finished an apprenticeship with Richard Avedon and was looking for interesting people to shoot. So I got this girl’s number and called. It was Madonna. At the time she was living in Alphabet City, and she suggested I go to her apartment and chat about what I wanted to do. I had to call her from a phone booth across the street, because the neighborhood was full of drug dealers, and they didn’t let people just walk in and out. There was a group of kids outside the building, on the stoop, in the hallways, and when I said I was there for Madonna the seas parted. I looked up the staircase, and I saw this girl leaning over the edge of the banister, and even from three stories below I could see these catlike eyes just looking down. I knew at that moment that she had something special — I really did. She had her best friend and neighbor, Martin, with her — he later died of AIDS—and we sat and talked. She served me a cup of coffee on a silver tray with three pieces of Bazooka bubblegum. There was no pretense to it. When I came back a few days later to shoot her, she said, “You know, we should go up to the roof because I go up there with all the kids from the building.” She was like the Pied Piper of the neighborhood — they loved her. They followed her, they danced with her, they sang with her. It was something they did on a daily basis, and it was remarkable. We just walked up and they gathered around. She put the boom box on — it was her music, though I don’t remember which song — and they just started dancing and singing. She was so alive and unpretentious. She was fierce, determined. Nothing was going to stop her. After we came down from the rooftop, we walked through the neighborhood, laughing and chatting, stopping in front of a storefront that you see in one of the shots, stopping in front of a senior citizen’s home...