JEFF KOONS Jeff Koons: the Sculptor
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(Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice. -
Agathe Snow at the Deutsche Guggenheim
Issue 14 Winter 2011 Agathe Snow at the Deutsche Guggenheim Deutsche Bank Collection in Essen The Great Upheaval in New York Deutsche Guggenheim Magazine Issue 14 Winter 2010 Welcome Das Deutsche Guggenheim Magazine erscheint viermal im Jahr. Agathe Snow: All Access World The Deutsche Guggenheim Magazine is published four times annually. Close Up 2 My Things: Agathe Snow Die Berliner Siegessäule, der Rote Platz in Moskau oder der ame- From Berlin’s Victory Column to Moscow’s Red Square and Redaktion Editorial 3 Deutsche Guggenheim Social Media Activities rikanische Mount Rushmore: Solche Denkmäler feiern verstorbe- America’s Mount Rushmore, monuments honor dead politicians Deutsche Guggenheim, Berlin Sara Bernshausen 2 My Things: Agathe Snow ne Politiker und Herrscher, siegreiche Schlachten oder andere and leaders, victorious battles, and other historic events. While Friedhelm Hütte 3 Deutsche Guggenheim Social Media Activities Ereignisse, die für die lokale oder nationale Geschichte von großer cultural identity has become increasingly plural and complex, na- Steffen Zarutzki Solomon R. Guggenheim Bedeutung sind. Die kulturelle Identität von Ländern rund um tional monuments have retained their prestige and power. Foundation, New York On View at the Deutsche Guggenheim 4 All Access World: Ein Gespräch zwischen Adam McEwen die Welt ist vielfältiger und komplexer geworden, die National- All Access World is the title Agathe Snow has given her proj- Kamilah Foreman und Agathe Snow denkmäler aber sind geblieben. ect for the Deutsche Guggenheim. And this world is indeed di- Elizabeth Franzen Regarding Arts, Berlin 4 All Access World: A Conversation between Adam All Access World nennt Agathe Snow ihr Projekt für das Deut- verse and open to all: Snow has transformed the exhibition space Achim Drucks McEwen and Agathe Snow sche Guggenheim. -
100 Years of Helmut Newton: the Making of SUMO and the Birth of BABY SUMO HELMUT NEWTON the BABY SUMO Edition
100 Years of Helmut Newton: The Making of SUMO and the Birth of BABY SUMO HELMUT NEWTON The BABY SUMO Edition The Making of Helmut Newton’s Helmut Newton checks a printing sheet during Frankfurt Book Fair, 1999. SUMO _065-240_TASCHEN_MAGAZIN_2020-1_GB_EU_37454.indb 180 01.10.20 15:17 _065-240_TASCHEN_MAGAZIN_2020-1_GB_EU_37454.indb 181 01.10.20 15:17 Over a period of two years, Helmut Newton and Benedikt Taschen exchanged letters, faxes, and phone calls to define details of the SUMO pro duc tion. At some point, not amused by the prospect of having to sign the entire print run of 10,000 copies, Newton tried to wrestle out of the agreement, Helmut Newton signing the pages which were suggesting to “maybe sign a few dozen” printing sheets. subsequently bound into SUMO. Monte Carlo, 1999. Photo by Photo: © Alice Springs / Maconochie Photography Photography Maconochie Maconochie / / Springs Springs Alice Alice © © Photo: Photo: Alice Springs. _065-240_TASCHEN_MAGAZIN_2020-1_GB_EU_37454.indb 182 01.10.20 15:17 _065-240_TASCHEN_MAGAZIN_2020-1_GB_EU_37454.indb 183 01.10.20 15:17 Benedikt Taschen with suite at the Sunset Helmut Newton, the book. At 620,000 the handmade dummy Marquis Hotel, Benedikt Taschen and deutschmarks it made of SUMO when first Hollywood, 1997. Photo auctioneer Simon de the world record price present ing his idea of by Helmut Newton. Pury after the auction of for a book published in producing a gigantic SUMO copy number the 20th century, Berlin, book to stunned Helmut one, signed by over 100 2000. Photo by Alice and June Newton in his celebrities portrayed in Springs. -
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. -
Ingressi Di Milano Curated by Karl Kolbitz Photographs by Matthew Billings, Paola Pansini, and Delfino Sisto Legnani
Press Release Ingressi di Milano Curated by Karl Kolbitz Photographs by Matthew Billings, Paola Pansini, and Delfino Sisto Legnani TASCHEN Store Milan (1st Floor Gallery), Via Meravigli 17 April 5 – June 18 2017 “One might call the ingressi Milan’s best-kept secret, the architectural equivalent of Poe’s purloined letter: a secret that is “prominently hidden” for all to see, and for a more restricted number to enter. With the ingressi, in fact, we are dealing with spaces that, by a peculiar logic of representation, start as passages to a given place but end up becoming their own destinations.” - Daniel Sherer TASCHEN is pleased to announce the opening of Ingressi di Milano, a new exhibition of photographs curated by Karl Kolbitz. The show is presented in parallel with the release of Kolbitz’s eponymous TASCHEN publication, an unprecedented look at Milan’s design DNA. Over the course of countless trips to Milan, Kolbitz’s exploration of the city’s eclectic aesthetics triggered the following, paradoxical question: in a city famous the world over as an exporter of design, how has its multitude of exuberant entryways remained so inconspicuous? In his book, Kolbitz opens the doors to these remarkable Milanese spaces, leading us through 144 of the city’s most sumptuous entrance halls dating from 1920 to 1970. At the intersection of art, architecture, and design, the collection showcases the work of some of the city’s most illustrious architects and designers, including Giovanni Muzio, Gio Ponti, Piero Portaluppi, and Luigi Caccia Dominioni, as well as non-pedigreed architecture of equal impact and interest. -
[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. -
PICASSO: Mosqueteros
G A G O S I A N G A L L E R Y February 14, 2009 PRESS RELEASE GAGOSIAN GALLERY 522 WEST 21ST STREET T. 212.741.1717 NEW YORK, NY 10011 F. 212.741.0006 GALLERY HOURS: Mon – Sat: 10:00am– 6:00pm PICASSO: Mosqueteros Thursday, March 26 – Saturday, June 6, 2009 Opening reception: Thursday, March 26th, from 6 to 8pm I enjoy myself to no end inventing these stories. I spend hour after hour while I draw, observing my creatures and thinking about the mad things they're up to. --Pablo Picasso, 1968 “Picasso: Mosqueteros” is the first exhibition in the United States to focus on the late paintings since “Picasso: The Last Years: 1963-1973” at the Solomon R. Guggenheim Museum in 1984. Organized around a large group of important, rarely seen works from the collection of Bernard Ruiz-Picasso, as well as works from The Museum of Modern Art, New York, the Museo Picasso Málaga and other private collections, “Picasso: Mosqueteros” aims to expand the ongoing inquiry regarding the context, subjects, and sources of the artist’s late work. Building on new research into the artist’s late life through the presentation of selected paintings and prints spanning 1962-1972, the exhibition suggests how the portrayal of the aged Picasso, bound to the past in his life and painting, has obscured the highly innovative and contemporary nature of the late work. The tertulia, an Iberian tradition of gregarious social gatherings with literary or artistic overtones, played a major part in Picasso’s everyday life, even after he moved to the relative seclusion of Notre-Dame-de-Vie in the 1960s. -
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
AiA Art News-service 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 ANNA SANSOM 9th November 2018 13:58 GMT Fait D'Hiver (1988) by Jeff Koons, on show at the Liebighaus museum on in Frankfurt in 2012 © Ralph Orlowski/Getty Images Jeff Koons has been found guilty of plagiarising a 1980s advertising campaign for French fashion brand Naf Naf to make his porcelain sculpture Fait d'Hiver (1988), which is part of his Banality series. The high court of Paris has ordered the artist’s company Jeff Koons LLC, and the Centre Pompidou, which exhibited the piece in a 2014 Koons exhibition, to pay Franck Davidovici, the creative director of Naf Naf, €135,000 in damages and interest, and €70,000 in trial costs. The court ruled that Jeff Koons LLC had counterfeited a 1985 Naf Naf advert, featuring a pig with a barrel of rum tied round its neck rescuing a girl in the snow, by using its “original elements”. Davidovici had sued for copyright infringement, with his lawyer, Jean Aittouares of Ox Avocats, describing the Koons sculpture as a “slavish copy” of the advert. “The court dismisses the argument of freedom of artistic expression, considering that Koons had clearly sought, by retaking the first work, to make 'the economy of a creative work',” Ox Avocats posted in a short online statement. The court also ordered Koons' company to pay €11,000 to Davidovici for reproducing an image of the sculpture on Koons' website, and €2,000 to Flammarion, the French publishing house, for reproducing an image of the work in the Centre Pompidou's exhibition catalogue. -
Liz Deschenes
MIGUEL ABREU GALLERY LIZ DESCHENES Born in Boston, MA, 1966 Lives and works in New York EDUCATION 1988 Rhode Island School of Design B.F.A. Photography, Providence, RI SOLO EXHIBITIONS 2016 Campoli Presti, Paris, France Institute of Contemporary Art, Boston, MA 2015 Gallery 4.1.1, MASS MoCA, North Adams, MA 2014 Gallery 7, Walker Art Center, Minneapolis, MN Stereographs #1-4 (Rise / Fall), Miguel Abreu Gallery, New York 2013 Bracket (Paris), Campoli Presti, Paris, France Bracket (London), Campoli Presti, London, UK 2012 Secession, Vienna, Austria 2010 Shift / Rise, Sutton Lane, Brussels, Belgium 2009 Right / Left, Sutton Lane, Paris, France Chromatic Aberration (Red Screen, Green Screen, Blue Screen - a series of photographs from 2001 - 2008), Sutton Lane, London, UK Tilt / Swing, Miguel Abreu Gallery, New York 2007 Photographs, Sutton Lane, London, UK Registration, Miguel Abreu Gallery, New York 2001 Blue Screen Process, Andrew Kreps Gallery, New York 1999 Below Sea Level, Andrew Kreps Gallery, New York 1997 Beppu, Bronwyn Keenan Gallery, New York 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com SELECTED GROUP & TWO-PERSON EXHIBITIONS 2017 Sol Lewitt & Liz Deschenes, Fraenkel Gallery, San Fransisco, CA PhotoPlay: Lucid Objects, Paris Photo, Grand Palais, Paris, France The Coffins of Paa Joe and the Pursuit of Happiness, The School | Jack Shainman Gallery, Kinderhook, NY Paper as Object, curated by Richard Tinkler, Albert Merola Gallery, -
GUGGENHEIM FOUNDATION and ITS GLOBAL NETWORK a Thesis
GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Masters of Arts Xingyu Hai December, 2012 GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK Xingyu Hai Thesis Approved: Accepted: _________________________________ _________________________________ Advisor School Director Mr. Durand Pope Dr. Ann Usher _________________________________ _________________________________ Committee Member Dean of the College Mr. Rod Bengston Dr. Chand Midha _________________________________ _________________________________ Committee Member Dean of the Graduate School Mr. Neil Sapienza Dr. George R. Newkome _________________________________ Date ii ABSTRACT This work deals with the Guggenheim Foundation’s “Global Museum Network” and its international collaborations with a variety of partners. It also includes a look at the global business management model that has been developed by the Guggenheim Foundation administrators. The main purpose of this work is to examine the “branding system” which was created and utilized by the Guggenheim Foundation and to analyze the system’s advantages and disadvantages within their global operation. The Guggenheim brand system depends on the multination art policies, the development of foreign funding sources, and dealing with international partners and sponsors. iii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION……………………………………………….…....1 II. CULTURE LEGACY OF AMERICAN PHILATHOPIST…………..3 III. BRAND, BRANDING -
Exibart 78 / 3
78 bimestrale - Sped. in A.P. 45% art. 2. c. 20 let. B - l. 662/96 Firenze Copia euro 0,0001 bimestrale - Sped. in A.P. FREE Ma New York Gli esami non Vivere in un museo ANNO UNDICESIMO funziona ancora? finiscono mai Quattro artisti sono in NUMERO SETTANTOTTO La Grande Mela va avanti. Corsi e master d’arte residenza al Macro. Siamo Almeno nell’arte, nascono contemporanea nascono entrati nei loro studi APRILE/MAGGIO nuovi spazi e nuove aree ovunque. Ma l’arte si impara per raccogliere le prime DUEMILADODICI creative. Anche se non davvero? E quanto costa impressioni su questa nuova sempre di qualità. Ma artisti studiarla? Per farci che cosa esperienza. A caldo, e con un WWW.EXIBART.COM e curatori continuano a poi? Viaggio-inchiesta nella po’ di sorprese. Ma anche per sceglierla. Abbiamo provato formazione più ricercata del capire come cambia il museo a capire perché. Parlando nuovo millennio direttamente con loro Ripensare la cultura Giovani artisti italiani Qual è la differenza tra Dante Mercato in ripresa C’è qualcosa che li e una salsiccia? Uno non si Quali sono le novità e gli differenzia dagli altri, una mangia e l’altra sì. artisti che tirano? Occhio specificità, un dna visivo? Tutto qui? Mentre a parlare alle ultime aste, ma anche E quanto guardano al di cultura sono sempre i ai nuovi investitori che passato? Opinioni a soliti noti. All’appello manca stanno cambiando la scena confronto, tra critici e chi qualcuno commerciale l’arte la fa direttamente EXIBART 78 / 3 EDITORIALE di Adriana Polveroni a vi pare possibi- vita pubblica. -
Jeff Koons' „Balloon Rabbit“
Press Release - April 9, 2018 Jeff Koons’ „Balloon Rabbit“ Edition sold out “Balloon Rabbit, Red” by Jeff Koons, which was launched in May 2017 in an edition of 999, has now been sold out by the publisher. At the same time the complete set of 3 “Balloon Animals” (Balloon Rabbit, Balloon Monkey, Balloon Swan) cannot any longer be produced. “Balloon Rabbit” is from now on only available in the secondary market, in which Larry Gagosian (Los Angeles/New York) and Weng Contemporary, a brand of WFA Online AG, are the market leaders. The price of “Balloon Rabbit” has increased within less than one year from $9’500 to $17’500. On April 1, 2018, Gagosian has raised his price for the American market to $19’500 (see the attached chart). The sculptural editions of Jeff Koons are featured on the website JeffKoonsEditions.com and can be purchased through WengContemporary.com. ABOUT WENG FINE ART AG Weng Fine AG (www.wengfineart.com) registered in Krefeld and operating in Monheim a.Rh. and in Zug (Switzerland), is a leading internationally operating art dealership. The founder-led company combines more than 20 years of expertise in the art market with broad economic know-how. Other factors of success are the large inventory of artworks as well as the access to attractive funding. The company focuses on the most important artists of the 20th century, such as Andy Warhol, Damien Hirst, Robert Longo, Pablo Picasso, Gerhard Richter and Jeff Koons. In its core business Weng Fine Art supplies only professionals and among the clients are the most important international auction houses, together with leading international dealers and galleries.