jeff koons artist catalog
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KOONSKOONS
KOONSKOONSKOONSKOONS
KOONSKOONSKOONS
KOONSKOONS
SELECTED WORK
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JEFF
KOONSSELECTED WORK
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3.
BIOGRAPHY
7.SOLO EXHIBITIONS
GROUP EXHIBITIONS
COLLECTIONS
11.INTERVIEW
19.KOONS WORK
C O N T E N T
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eff Koons doesnt necessarily look like an artistand
certainly not one whos been slaving away in a garrison.
In fact, he often looks more like hes running for office,
dressed in a suit and tie, his hair neatly cropped, aneffervescent smile perpetually at the ready. But few artists
truly embody their approach to making art as fully as Koons
does. He is as All-American as it gets, a son of the Rust
Belt (the industrial burg of York, Pennsylvania, to be specific)
with an unbridled affinity for concepts that many artists
actively try to disavow, like consumerism, accessibility, and
populism.
reating his work, Koons operates more like the self-
made CEO of a small corporate enterprise, directing andproject-managing it into being with the support of a staff of
more than 100 artisans and assistants in his West Chelsea
studio. But the fact that Koonss life as an artist began as
an off-hours endeavor supported by day jobs, working at
the membership desk at the Museum of Modern Art and
as a commodities broker on Wall Street, and eventually
led to a robust retrospective in 2008 at the Chteau de
Versaillesthe same year Koonss pieces reportedly sold
for a cumulative $117.2 million at auctiontells you all
you need to know about the kind of populist mythmakingthat has frequently colored, and often fueled, his art. His
work has drawn on the broad iconography of everything
from Roman statues and classical busts to Michael
Jackson, Popeye, balloon dogs, and household objects
like basketballs and Hoover vacuum cleaners, playing with
3
B I O G R A P H Y J
C
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4
FEW ARTISTS TRULY EMBODY THEIR APPROACHTO MAKING ART AS FULLY AS KOONS DOES
sca e an context e some para ax us on o uc amp
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sca e an context e some para ax us on o uc amp,Dal, and Disney. Koons has also liberally inserted himself
into is work, sometimes explicitly, as in his controversial
Made in Heaven series, which was first exhibited in
1990, and more often through his runaway ambition and
perfectionism, as in Celebration, a long-gestating cycle
begun during a period when Koons was going through a
divorce and faced near-bankruptcy.
oons, of course, has not only rebounded over the last
decade, but flourished, producing a prodigious amount of
work, including his Popeye series, his bronze-and-wood
Hulks (Bell), and his magenta Balloon Venus and turquoise
Metallic Venus pieces. In 2012, he was the subject of two
connected large-scale exhibitions in Frankfurt, Germany
one at the Schirn Kunsthalle, which focused primarily on
his paintings, and another at the Liebieghaus featuring
his sculptural work. The Whitney is also in the process of
planning a major retrospective of his work set to open
in 2014, and in September, it was announced that Koons
would be consulting with New York State on designs for anew Tappan Zee Bridge.
reating his work, Koons operates more like the self-
made CEO of a small corporate enterprise, directing and
project-managing it into being with the support of a staff of
more than 100 artisans and assistants in his West Chelsea
studio. But the fact that Koonss life as an artist began as
an off-hours endeavor supported by day jobs, working at
the membership desk at the Museum of Modern Art and
as a commodities broker on Wall Street, and eventually
led to a robust retrospective in 2008 at the Chteau de
Versaillesthe same year Koonss pieces reportedly sold
for a cumulative $117.2 million at auctiontells you all you
need to know about this populist.
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K
C
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KOONS, OF COURSE, HAS NOT ONLY
REBOUNDED OVER THE LAST DECADE,
BUT FLOURISHED
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Museum of Contemporary Art / Chicago, Illinois / 1988 and 2008
Walker Art Center / Minneapolis, Minnesota / 1993
Museum of Contemporary Art / Sydney, Australia / 1995
Guggenheim Museum Bilbao / Bilbao, Spain / 1997
Deutsche Guggenheim / Berlin, Germany / 2000Museo Archeologico Nazionale di Napoli / Naples, Italy / 2003
Victoria and Albert Museum / London, England / 2006
Metropolitan Muesum of Art / New York, New York / 2008
Neue Nationalgalerie / Berlin, Germany / 2008
S O L O E X H I B I T I O N S
G R O U P E X H I B I T I O N SLighting / P.S. 1 / New York, New York / 1981
Skulptur / Projekte / Mnster, Germany / 1987Whitney Biennial / Whitney Museum of American Art /
New York, New York / 1987 and 1989
Carnegie International / Carnegie Museum of Art /
Pittsburgh, Pennsylvania / 1988
Biennale of Sydney / Sydney, Australia / 1990
American Art in the Twentieth Century / Royal Academy of Arts /
7 C O L L E C T I O N SARKEN Museum for Moderne Kunst / Copenhagen, Denmark
Astrup Fearnley Museet / Oslo, Norway
Art Gallery of New South Wales / New South Wales, Australia
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INSTALLATION VIEW OF LOOPY AND SANDWICHES
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INSTALLATION VIEW OF LIPS AND ELEPHANT
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INTE
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INTER
VIEW
IthinkIwasdrawntoPopeyebecauseitmakesre
ference
toourpaternalgeneration,liketheparentsofpeopleofmy
generation.Iwouldt
hinkthattopeoplelikemyfather,andthe
peopleofhisgeneration,Popeyeislikeamalepriapist.Soif
youthinkinancientterms,hewouldhaveaharem
,asymbolof
maleenergy.Popeye
takesthatspinach,andstren
gthcomes-
artkindofbringstha
ttranscendenceintoourlife,
soIlikethese
parallels.Thisenhancementofsensation.Ithinkartteachesus
howtofeel,whatou
rparameterscanbe,whatse
nsationscan
belike;itmakesyou
moreengagedwithlife.
Youhadaninterestingexhibition
titled
PopeyeSeriesinLondon
[in2009].WhythatPopeyeimagein
particular?
Ithinkthatitissome
signfromsocietythatatleastsome
individualsfindsome
worthinthepieceanditisw
orth
protectingandsaving,thatthereissomeculturalvalue.When
thingsbecomemore
expensive,youwouldbelieveoryou
wouldliketobelievethatpeoplewanttoprotectthem
becausetheywanttosafeguardthisstorage,this
kindofa
value.Butattheend
oftheday,theartisticexperienceisabout
findingyourownparametersformyselfasanartist,havingas
intenseandasvividalifeexperienceaspossible-a
ndthento
tryingtocommunica
tethattoothers.
Someofyourartworkhasfetched
enormousprices.BalloonFlower
(Mag
enta)soldformorethan
12m
illionpounds.Doyouseeit
asamarkofrecognition,orisit
completelyacademictoyou?
Tomakeanyartwork
isalwaystobeopentoeverything.Id
justhadmyMadeinHeavenexhibition,andIdreallyopened
myselfupforthebaroqueandtherococo.Ibecam
eaware
ofthosefloralsculpturesofNorthernItalyandBavaria.SoI
thought,Oh,itwouldbenicetomakealivingwork,awork
Your
famoussculpturePuppy,in
Bilba
o,isabout40feethigh.Wh
at
kind
ofchallengesdiditpresent
to
you?
ASYMBOLOF
MALEENERGY
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KOON
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WORK
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vinyl, mirrors
32 x 25 x 18 inches
81.3 x 63.5 x 45.7 cm
1979
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I N F L A T A B L E F L O W E R
A N D B U N N Y
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R A B B I T
stainless steel
41 x 19 x 12 inches
104.1 x 48.3 x 30.5 cm
Edition of 3 plus AP
1986
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LOO
PY
oiloncanvas
108x791/4inch
es
274.3x201.3cm
1999
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oil on canvas
120 x 168 inches
304.8 x 426.7 cm
2000
L I P S
25
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LOBSTER
p
olychromed
a
luminum,coated
s
teelchain
9
7x187/8x37inches
2
46.4x47.9x94cm
E
ditionof3plusAP
2
0 0 3
27
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LOBSTER
high
chromiumstainless
stee
lwithtransparent
colo
rcoating
577
/8x187/8x37
inch
es
147
x47.9x94cm
2007-2012
2003
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G A Z I N G B A L L
( A R I A D N E )
plaster and glass
44 5/16 x 93 7/8 x
36 5/8 inches
112.6 x 238.4 x 93 cm
edition of 3 plus
1 AP
2013
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high chromium stainless steel
with transparent color coating
138 x 119 x 94 inches
350.5 x 302.3 x 238.8 cm
5 unique versions (Magenta,
Blue, Violet, Yellow, Red)
2004-2011
31
B A L L O O N S W A
( M A G E N T A )
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P U P P Y
stainless steel, wood (at Arolsen only), soil, geo
fabric, internal irrigation system, live flowering p486 x 486 x 256 inches
1234.4 x 1234.4 x 650.2 cm
Installations at arolsen 1992, sydney 1995-96, bi
1997 (permanent installation), new york rockefel
2000, private collection (permanent installation)
1992
-Rockefeller Center shown
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O N E B A L L
5 0 / 5 0 T A N K
glass, steel, distilled water,
one basketball64 3/4 x 30 3/4 x 13 1/4 inches
164.5 x 78.1 x 33.7 cm
Edition of 2
1985
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B A L L O O N D O G
( Y E L L O W )
high chromium stainless steel
with transparent color coating
121 x 143 x 45 inches
307.3 x 363.2 x 114.3 cm
5 unique versions (Blue,
Magenta, Yellow, Orange, Red)
1994-2000
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C O L O P H O N
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C O L O P H O N
This is the first edition of this
book printed at PhiladelphiaUniversityin November 2014.
This edition is limited to one
copy. The cover and spreads
were designed by Colin Hyland.
Fonts used in this book are
Corporate,Univers, Raleway,
and Clarendon.
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