T he Richard Prince photograph of Brooke Shields that Tate Modern recently withdrew from the exhibition Pop Life, after Scotland Yard suggested it might break obscenity laws, travelled across the Atlantic carrying a long history of controversy. It shows a year-old Shields, oiled and glistening, naked and made-up, posing in a marble bathtub with a seductive danger that belies her years. It tells you everything about what we fear and desire. Prince, Schorr tells me, has never met Shields. Intent on questioning notions of authorship and originality, he rephotographed an existing image that had already inspired two years of legal debate.
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In the magazine, a ten-year old Brooke is shown wearing makeup, her glistening body posed naked in a bathtub. At the time, Gross was working on a project for publication entitled The Woman in the Child , in which he wanted to reveal the femininity of prepubescent girls by comparing them to adult women. Her mother signed a contract giving Gross full rights to exploit the images of her daughter. In , however, Brooke Shields wanted to prevent further use of these pictures and tried unsuccessfully to buy back the negatives.