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  • Artist: Period/Style: Patron: Material/Technique: Form
    TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument.
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  • [Brand × Artist] Collaborations
    FROM HIGH ART TO HIGH TOPS : THE IMPACT OF [ BRAND × ARTIST ] COLLABORATIONS WORD S A NYA FIRESTO N E On the world-map of today’s creative brands, we increasingly find Margiela. That art is being called upon as branding’s new muse, and collaborations with art — contemporary or otherwise — where × signifies a drive to create something more complex than that which marks the spot: can be achieved through fashion. It is logical that this nouveau artistic collaborative wave hits hard Don Perignon × Jeff Koons today, an epoch when magic is no longer required to see almost Perrier × Andy Warhol anything and everything thanks to the world’s new beloved fairy Supreme × Damien Hirst godmother: #socialmedia. With the advent of digital platforms comes Raf Simons × Sterling Ruby the collective impulse to display not only a style, but perhaps more COMME des GARÇONS × Ai Weiwei importantly, lifestyle. Look at any creative company’s Instagram and Lacoste × Zaha Hadid we find not only pictures of its gadgets and gizmos, but a cultivated Opening Ceremony × René Magritte existence around them — tastes and sensibilities, filtered through adidas × Jeremy Scott “Keith Harring” specific lenses: urban landscapes, graffiti, perfectly frothed lattes, Pharell’s hat, Kanye’s pout, and various other facades of society And so the formula of [Brand by Artist] is written, etched onto that visually amalgamate to project a brand’s metaphysical culture skateboards and sneakers, from H&M to Hermés, on Perignon to in time and space. Perrier, strutting down catwalks and stacking grocery aisles at a prolific It is no wonder then why brands are increasingly seduced by art; rate.
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  • Jeff Koons Loses French Lawsuit Over ‘Slavish Copy’ of Naf Naf Advert US Artist Ordered to Pay Damages and Costs, but Fair D’Hiver Sculpture Escapes Seizure
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  • The Irony of the Artist's Assistants
    Words Illustration Anya Firestone Clara Lacy Damn, they don’t make ‘em like this anymore century, Rubens and Rembrandt in the 17th, Fragonard and I ask ‘cause I’m not sure Jacques-Louis David in the 18th—all hired (and fired) numerous Does anyone make real shit anymore? apprentices to help create the masterpieces that defined Bow in the presence of greatness their careers. ‘Cause right now thou hast forsaken us. — Kanye West Unlike today, back when the aristocracy had its head on its shoulders and the Louvre was a king’s palace and not a museum, In the sparkling halls of the Louvre Museum, where frescoed angels artists were not creating for the sake of art itself, therapeutic greet us on gilded ceilings and the hand-painted portraits of kings release, landing a Louis Vuitton collab, or high sales goals at LOOK MoMA, throw shade, we walk past art history’s greatest masterpieces, Basel. Rather, they worked because they were commissioned by and painfully lament that, sigh, Kanye is finally right: They sure ruling royals and religious figures of the land to create historic don’t make them like this anymore. In the glamorous hodgepodge paintings of battles, biblical scenes, and handsome royal that defines today’s material culture, where luxury labels and Art portraits to fill castles and cathedrals. Therefore, to execute such Basel parties go hand-in-handbag, where JAY-Z films music monumental projects, assistants became as critical of a support videos in white-wall galleries, and where everyone coronates system for the artist as were his easels.
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  • JEFF KOONS Jeff Koons: the Sculptor
    JEFF KOONS Jeff Koons: The Sculptor. Liebieghaus Skulpturensammlung, Frankfurt, Germany Née/Born – 1955, York, PA, USA Jeff Koons. Fondation Beyeler, Basel, Switzerland Vit et travaille/Lives and works – New York, NY, USA 2011 Moustache by Jeff Koons. High Museum of Art, Atlanta, GA, USA EDUCATION ARTIST ROOMS: Jeff Koons. National Galleries of Scotland, Edinburgh, UK 1976 BFA, Maryland Institute College of Art, 2010 Jeff Koons: Popeye Sculpture. Galerie de Noirmont, Baltimore, MD, USA Paris, France 1975-76 School of the Art Institute of Chicago, IL, USA Dictator. Gagosian Gallery, New York, NY, USA 1972-75 Maryland Institute College of Art, Baltimore, Jeff Koons: Cracked Egg (Blue). Conservatory, MD, USA Aylesbury, Waddesdon Manor, Buckinghamshire, UK EXPOSITION INDVIDUELLES SÉLECTIONNÉES 2009 Jeff Koons: New Paintings. Gagosian Gallery, Beverly SELECTED SOLO EXHIBITIONS Hills, CA, USA Jeff Koons: Popeye Series. Serpentine Gallery, London, 2017 Jeff Koons. Gagosian, Beverly Hills, CA, USA UK 2016 Jeff Koons. Almine Rech Gallery, London, UK 2008 Jeff Koons: Celebration. Neue Nationalgalerie, Berlin, Jeff Koons: Now. Newport Street Gallery, Germany London, UK Jeff Koons. Galerie Max Hetzler, Berlin, Germany 2015 Jeff Koons: Gazing Ball Paintings. Gagosian Gallery, Jeff Koons: Versailles. Château de Versailles, France New York, NY, USA Jeff Koons. Museum of Contemporary Art, Chicago, Jeff Koons: Balloon Venus (Orange). Natural History IL, USA Museum Vienna, Vienna, Austria Jeff Koons: On the Roof. Metropolitan Museum of Art, Jeff Koons In Florence. Palazzo Vecchio and Piazza New York, NY, USA della Signoria, Florence, Italy 2007 Jeff Koons: Popeye. Gagosian Gallery - Davies Street, Jeff Koons: A Retrospective. Guggenheim Museum London, UK Bilbao, Bilbao, Spain Jeff Koons: Hulk Elvis.
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  • Marcel Duchamp + Jeff Koons, Appearance Stripped Bare (Apariencia Desnuda), Museo Jumex, Mexico City
    Galerie Max Hetzler Berlin | Paris | London Forbes Press, Clayton: Review Jeff Koons 24 May 2019 Marcel Duchamp + Jeff Koons, Appearance Stripped Bare (Apariencia Desnuda), Museo Jumex, Mexico City Clayton Press Contributor Arts “Consider the practical effects of the objects of your conception. Then, your conception of those effects is the whole of your conception of the object." Charles Sanders Peirce, Popular Science Monthly, January 1878. Jeff Koons is a very practical man, pragmatic even. He has developed a set of unembellished, yet polished principles that envelop his work, which he talks about in philosophical, near-spiritual terms. He wants his audience to experience awareness, acceptance and transcendence. These transformative possibilities can seem incongruous with Koons’ subject matter, which is shaped by commercialism in popular culture and Pop art. As Roberta Smith wrote in “Stop Hating Jeff Koons,” an article that appeared two days after Jeff Koons' 1986 stainless steel Rabbit sculpture was sold at Christie's Post War and Contemporary Sale on May 15, 2019, “ Mr. Koons is a lightning rod, and has been for some time. It is fashionable and easy to hate his work. In certain quarters of the art world it seems to be required—collectors, many dealers and museum curators excepted. Mr. Koons’s art has proved resistant to easy absorption into art history. We’re still fighting about him. (The New York Times, May 17, 2019.) maxhetzler.com Galerie Max Hetzler Berlin | Paris | London Forbes Press, Clayton: Review Jeff Koons 24 May 2019 Marcel Duchamp. Roue de Bicyclette, 1913. National Gallery of Canada, Ottawa. FOTOGRAFÍ A: NGC © MARCEL DUCHAMP / ADAGP / SOMAAP / MÉ XICO / 2019.
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  • Jeff Koons Selected Monographs Bibliography Jeff Koons in Florence
    Jeff Koons Selected monographs Bibliography Jeff Koons in Florence. Florence: Forma Edizioni srl, 2016 [Texts by Sergio Risaliti. Norman Rosenthal, Joachim Pissarro, Carlo Francini, Francesco Vossilla, Cristina Acidini, Elena Capretti, and Edoardo Nesi] Holzwarth, Hans Werner. Jeff Koons. Basic Art Series. Cologne: Taschen, 2015 [Texts by Katy Siegel, Ingrid Sischy, Holzwarth, Hans Werner, and Eckhard Schneider] Jeff Koons: The Gazing Ball or the Eye of Janus. Brussels: Almine Rech Gallery, 2015 [Text by Joachim Pissarro] Rothkopf, Scott. Jeff Koons: Retrospectiva. Bilbao: Guggenheim Museum Bilbao, 2015 Champion, Julie and Caroline Edde. Jeff Koons: La Retrospective: The Album of the Exhibition. Belgium: Centre Pompidou, 2014 Rothkopf, Scott. Jeff Koons: A Retrospective. Exhibition catalogue. New York: Whitney Museum of American Art. 2014. [Texts by Antonio Damasio, Jeffrey Dietch, Isabelle Graw, Achim Hochdörfer, Michelle Kuo, Rachel Kushner, Pamela M. Lee, and Alexander Nagel] Jeff Koons, Almine Rech Gallery, 2013 Koons, Jeff and Norman Rosenthal. Jeff Koons: Conversations with Norman Rosenthal. Hove, England: Thames & Hudson, 2014 Dominikus Müller, 'Jeff Koons Fondation Beyeler, Schirn Kunsthalle & Liebieghaus Basel & Frankfurt', FRIEZE #6, Autumn, 2012, pp. 128 Jeff Koons, Fondation Beyeler. Basel: Hatje Cantz, 2012. Jeff Koons: Wit Wurde Der Kunstler Zum Konig des Pop? Berlin: Monopol Spezial, Ringier Gruppe, 2012. Obrist, Hans Ulrich. Jeff Koons: The Conversation Series. Berlin: Buchhandlung Walther Konig, 2012. Naumann, Francis M. Jeff Koons - New Paintings. New York: Gagosian Gallery, Base Design, 2010. Danto, Arthur, and Dorothea von Hantelmann. Serpentine Gallery, Jeff Koons: Popeye Series. London, 2009. [Interview between Jeff Koons, Julia Peyton-Jones and Hans Ulrish 64 rue de Turenne, 75003 Paris Obrist].
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  • Self – Bacon Hirst Koons Picasso
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  • Jeff Koons on His New Gagosian Show, His MOCA Award and What's Behind Those Louis Vuitton Bags
    Los Angeles Times April 27, 2017 GAGOSIAN Jeff Koons on his new Gagosian show, his MOCA award and what's behind those Louis Vuitton bags Deborah Vankin A detail from Jeff Koons' "Gazing Ball (Manet Luncheon on the Grass)," 2014-2015. The painting is part of the show at Gagosian. (Gagosian) Jeff Koons is having a moment — again. The artist’s solo show of new and recent works, his first here in five years, opens at Gagosian gallery in Beverly Hills on Thursday. He's also being honored at the annual Museum of Contemporary Art gala on Saturday. The gala promises to be a bright and shiny thank you of sorts honoring the artist’s creative work and his philanthropy. During the last five years, Koons helped to raise more than $5 million for the museum. But Koons, who holds the record for the highest auction sale of any living artist with his $58.4 million “Balloon Dog (Orange), 1994–2000,” has turned up in headlines recently for other reasons as well. In March, a French court ruled that his 1988 porcelain sculpture, “Naked,” was plagiarized from French photographer Jean-Francois Bauret’s 1970 photograph, “Enfants” — something he declined to discuss in this interview. And his recent project for Louis Vuitton, “Masters,” featuring original designs for a 51-piece line of handbags, scarves, leather goods and other accessories, delighted some people but struck others as overly commercial art appropriation. The ever-colorful Koons, who will have a 45-foot-tall ballerina sculpture unveiled in New York’s Rockefeller Center in May, takes it all in stride.
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  • Cindy Sherman
    Candice Breitz Glenn Brown George Condo John Currin Jef Koons Yayoi Kusama Chris Of li Jenny Saville 1 Cindy Sherman Rebecca Warren Lisa Yuskavage Picturing women at the turn of the Curated by 21 Essay by Jo-Ann Conklin st century Ian Alden Russell David Winton Bell Gallery, Brown University 1 Foreword Spanning a period of twenty-four years — from 1989 to 2013 — SHE presents a broad- feminism. The same can be said of Glenn Brown. They are both, instead, deeply ranging selection of contemporary representations of women. The exhibition, concerned with painting — the simple and not-so-simple application of pigment to which is drawn from a private collection, includes works by eleven of the most highly canvas. Applying their idiosyncratic and highly identifiable styles to images of acclaimed artists working today. Within these paintings, sculpture, and videos are women, they parse the satirical, the humorous, and the grotesque. both convergences and divergences in style, concept, and intent. Some artists, notably For Jeff Koons, like Condo and Brown, “woman as subject” is secondary to formal Jenny Saville and Cindy Sherman, examine the position of women in society from concerns. His Gazing Ball (Ariadne) is a spectacular sculpture — a juxtaposition an overtly feminist viewpoint. Others, such as Lisa Yuskavage and Rebecca Warren, of a Classical figure reproduced in gleaming white plaster and a deep blue, reflective, wrest control of explicit sexual imagery from the hands of men. Yet others, such as gazing ball. In other works from the Gazing Ball series, Koons combines his gazing George Condo, Glenn Brown, and Jeff Koons, show little to no concern with the politics balls with plaster mailboxes, birdbaths, and snowmen.
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