Jerry Saltz, New York magazine
“Your video is excellent; very raw, mysterious, revealing, complex, and vulnerable, radically vulnerable. You are telling your secrets while keeping them secret. I did think of the early Pipilotti Rist tape, “I’m Not a Girl Who Misses Much” and maybe Gillian Wearing’s “Dancing in Peckem.” But the work is still very strong. Keep me posted.
Way to go.”
Artist Alison O’Daniel (Intimate Address/Adulterer)
I think this video is perfect. As art and as life. It describes what I want out of feminism and art. It's so wholly unwilling to accept anything but honesty and truth without concealing it behind power plays, desire, and flirtation-as so much feminist work has done in the last 30 years. Mine included-indeed this is the very thing I've wrestled with.
And having been there with you during that summer, watching, it started out as slightly awkward knowing what you were talking about-as if I had a perspective that isn't addressed in the piece. But then it unfolds and isn't awkward that I know what I know or saw what I saw...instead it's a relief because it speaks what we never speak. And ultimately, I think this is what we are all aiming for. At least this is my philosophy- to aim for a disclosure and an honesty that is not in contradiction with empowerment...and most importantly simultaneously owns itself within vulnerability. Usually, work about vulnerability- much of mine has done this, and much of your other work does this - still relies on harnessing sexual desire I think, in a dishonest way, that often cancels the aim out and becomes an imploding wannabe feminist mess. This mess is what so many people respond to and want and are titillated by...and yet I can't shake the feeling that it hands the power right back to the audience because they can name it and understand it. And sometimes, often if we really take the time to think about it, this is interesting because it points to the failure of us. But I think, in this piece, it works in an opposite direction...you display the point of vulnerability not as a sexual prowess, but from a space of defeat and in saying what hasn't been and usually isn't said, you find power.
Matt Seitz, former film critic for New York Press, for the House Next Door
“Prince makes unsettling, haunting, very personal short films that deliberately confound viewer reactions; they're confessional, sometimes squirm-inducingly so, but with a teasing, opaque edge that's playful and accessible. I guess you could call them ‘experimental,’ but I prefer not to, since the word seems too cold to describe such warm work.”
Artist Andrea Bowers (Letter to Wes Anderson)
“Denise. I like this video. It's so strange with all that pink and the visor! The visor is amazing and somehow throws the thing all out of whack in a brilliant way. I like the more minimal dialog. I think it is interesting directing. It is video that has a totally female sensibility to quote a lynda benglis video. This video will make guys squirm. That’s why I love it. It's great!”
Edward Rubin, Art Critic, New York, NY
(Celebrity Topiary by Denise Prince for Art City Austin fair)
on Downtown television program, Art City Austin on KLRU, November 13, 2008
“I am a writer. I travel a lot internationally to write about big shows and biennales. The thing I enjoyed most, as afar as the work of art, is the topiary. I think it’s the most original thing in the show.”
Artist Jenny Levonian (Intimate Distance – Adulterer)
“I watched your new videos--very intriguing and brave work. So raw. I couldn't turn my eyes away which is the opposite reaction I have to most video. The background scenery was beautiful--all that beige grass reminded me of a Wyeth painting.”