DOCSLIB.ORG

Jeff Koons Selected Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jeff Koons Selected Bibliography G A G O S I A N Jeff Koons Selected Bibliography Books and Catalogues: 2017 Koons, Jeff. Gazing Ball Paintings. New York: Gagosian. ----------. Masters: A Collaboration with Jeff Koons. France: Louis Vuitton. 2016 Koons, Jeff. Jeff Koons: Now. London: Other Criteria. Risaliti, Sergio. Jeff Koons in Florence. Florence: Forma. 2015 Holzwarth, Hans Werner. Jeff Koons. Basic Art Series. Cologne: Taschen. Pissarro, Joachim. Jeff Koons: The Gazing Ball or the Eye of Janus. Brussels: Almine Rech Gallery. Rothkopf, Scott. Jeff Koons: Retrospectiva. Bilbao: Guggenheim Museum Bilbao. Speyer, Jerry and Nicholas Baume and Jerome de Noirmont and Lauren Le Bon and Larry Gagosian. Jeff Koons: Split Rocker. New York: Gagosian Gallery. Tinari, Philip. Jeff Koons: Hulk Elvis. Hong Kong: Gagosian Gallery. 2014 Champion, Julie and Caroline Edde. Jeff Koons: La Retrospective: The Album of the Exhibition. Belgium: Centre Pompidou. Champion, Julie and Nicolas Liucci-Goutnikov. Jeff Koons: La Retrospective: The Portfolio of the Exhibition. France: Centre Pompidou. Koons, Jeff and Norman Rosenthal. Jeff Koons: Conversations with Norman Rosenthal. Hove, England: Thames & Hudson. Koons, Jeff and Norman Rosenthal, Jeff Koons: Entretiens avec Norman Rosenthal. Hove, England: Thames & Hudson. Rothkopf, Scott, supervised by Bernard Blistène. Jeff Koons: La Retrospective. Exhibition catalogue. France: Centre Pompidou. Rothkopf, Scott. Jeff Koons: A Retrospective. New York: Whitney Museum of American Art. ----------. Jeff Koons: Split-Rocker. New York: Gagosian Gallery. ----------.Jeff Koons: Gazing Ball. New York: David Zwirner. 2012 Koons, Jeff, Matthias Ulrich, Vinzenz Brinkmann, Joachim Pissarro, and Max Hollein. Jeff Koons: The Painter & The Sculptor. Ostfildern, Germany: Hatje Cantz. Koons, Jeff, and Theodora Vischer. Jeff Koons. Fondation Beyeler. Basel: Hatje Cantz. Obrist, Hans Ulrich. Jeff Koons: The Conversation Series. Berlin: Buchhandlung Walther Konig. Obrist, Hans Ulrich. Jeff Koons: The Conversation Series 22. Berlin: Buchhandlung Walther Konig. ----------. Jeff Koons: Wit Wurde Der Kunstler Zum Konig des Pop? Berlin: Monopol Spezial, Ringier Gruppe. 2011 Archer, Michael. Jeff Koons: One Ball Total Equilibrium Tank. London: Afterall Books; Cambridge, Mass.: MIT Press. Venet, Dian. From Picasso to Jeff Koons: the Artist as Jeweler. Milan: Skira; London: Thames & Hudson. 2010 Gregory, Jarrett, Jeff Koons & Sarah Valdez. Skin Fruit: Selections from the Dakis Joannou Collection. New York: New Museum and Distributed Art Publishers, Inc. W W W . G A G O S I A N . C O M G A G O S I A N Koons, Jeff & Francis M. Naumann. Jeff Koons : New Paintings. Beverly Hills, CA: Gagosian Gallery. Koons, Jeff. Jeff Koons: Made in Heaven Paintings. New York: Luxembourg & Dayan. Obrist, Hans Ulrich. Jeff Koons: Popeye Sculpture. Paris: Galerie Jérôme de Noirmont. 2009 Rattee, Kathryn & Jeff Koons. Jeff Koons: Popeye Series. London: Koenig Books and Serpentine Gallery. Rothkopf, Scott, Jeff Koons & Hans Ulrich Obrist. Hulk Elvis. New York: Rizzoli International Publications, Inc. and Gagosian Gallery. ----------. Jeff Koons: Celebration. Berlin: Neue Nationalgalerie. 2008 Bonami, Francesco. Jeff Koons. Chicago: Museum of Contemporary Art; New Haven: Yale University Press. Holzwarth, Hans Werner. Jeff Koons. Cologne: Taschen. Husch, Anette and Jeff Koons. Jeff Koons: Celebration. Ostfildern: Hatje Cantz Verlag; Berlin: Neue Nationalegalerie, Staatliche Museen zu Berlin. ----------. Jeff Koons Versailles. Château de Versailles. Paris: Éditions Xavier Barral. 2007 Egenhofer, Sebastian & Eckhard Schneider. Re-object: Marcel Duchamp, Damien Hirst, Jeff Koons, Gerhard Merz. Germany: Kunsthaus Bregenz; Manchester: Cornerhouse. Sischy, Ingrid and Eckhard Schneider. Jeff Koons. Taschen. Bonami, Francesco. Supercontemporanea: Jeff Koons. Milan: Modadori Electa. 2005 Büttner, Philippe and Robert Kopp. Flower Myth: From Van Gogh to Jeff Koons. Basel: Foundation Beyeler and Wolfratshausen: Edition Minerva. 2004 Barr, Jr., Alfred H. What’s Modern? New York: Gagosian Gallery. ----------. GOAT: A Tribute to Muhammed Ali (limited edition sculpture included). New York: Taschen. ----------. Jeff Koons: Highlights of 25 Years. New York: C&M Arts. ----------. Jeff Koons: Retrospektiv. Oslo: Astrup Fearnley Museet for Moderne Kunst. 2003 Guena, Elena and Mario Codognato. Jeff Koons. Naples: Archeological Museum of Napoli. 2002 Dempsey, Amy. Styles Schools and Movements. London: Thames and Hudson. Grunenberg, Christoph & Max Hollein. Shopping. Ostfildern: Hatje Cantz. Julius, Anthony. Transgressions: The Offences of Art. London: Thames & Hudson. Pearlman, Alison. Unpackaging Art of the 1980s. Chicago: University of Chicago Press. Sundell, Margaret & Charles Stainback. From Pop to Now: Selections from the Sonnabend Collection. Saratoga Springs: Tang Teaching Museum & Art Gallery. Schneider, Eckard & Alison Gingeras. Jeff Koons. Bregenz: Kunsthaus Bregenz. Washburne-Harris, Jessie & Donald Kennison. The Physical World: An Exhibition of Painting and Sculpture. New York: Gagosian Gallery. ----------. Jeff Koons: Pictures 1980-2002. Distributed Art Publishers, Inc. ----------. Jeff Koons: Pictures - Die Bilder 1980-2002. Bielefeld: Kunsthalle Bielefeld. ----------. The Physical World: An Exhibition of Paintings & Sculpture. New York: Gagosian Gallery. 2001 Bowie, David. Writers on Artists. New York: DK Publishing. Corrin, Lisa G. Give & Take. London: Serpentine Gallery, p. 24, 25. Milazzo, Richard. Caravaggio on the Beach: Essays on Art in the 1990's. New York: Edgewise Press. ----------. Festschrift Erich Marx. Munich: Schirmer-Mosel Verlag, p. 37. ----------. Jeff Koons. Bregenz, Austria: Kunsthaus Bregenz. W W W . G A G O S I A N . C O M G A G O S I A N 2000 Dennison, Lisa, Robert Rosenblum & Craig Houser. Easyfun-Ethereal. New York: Guggenheim Museum Publications. Bjelajac, David. American Art: A Cultural History. Upper Saddle River: Prentice Hall PTR, p. 391. Jacobson, Karen. Let's Entertain: Life's Guilty Pleasures. Minneapolis: Walker Art Center, pp 25-26, 244, 246. Kuspit, Donald. Redeeming Art: Critical Reveries. New York: Allworth Press, p. 160. Morgan, Robert C. Duchamp & los artistas. Buenos Aires: Universidad de Buonos Aires, p. 140. Papadakis, Andreas. New Architecture: Truth, Radicality and beyond in Contemporary Architecture. p.1. Rosenthal, Norman, Michael Archer, Michael Bracewell, James Hall & Nathan Kernan. Apocolypse: Beauty and Horror in Contemporary Art. London: Royal Academy of Arts. Thierolf, Corinna. Food for the Mind. Munich: Staatsgalerie moderner Kunst Munchen, pp. 200, 201. Walther, Ingo F. Art of the 20th Century, 2000 Diary, Taschen Books. Wood, Jonathan & Stephen Feeke. Hounds in Leash, The Dog in 18th and 19th Century Sculpture. Leeds: Henry Moore Institute, p. 64. Godfrey, Tom, Mohammed Mottahedan & Karsten Schubert. Once Upon a Time in America: The Mottahedan Collection. New York: Christie, Manson & Woods, Limited, p. 26-28, cover. Kemp, Martin. The Oxford History of Western Art. Oxford: Oxford University Press, Incorporated, p. 504. 1999 Abello, Jordi. Art for Artists. Barcelona: Centre d'Art Santa Monica, p. 15. Collings, Matthew. The Shock of the Now, This is Modern Art. pp. 38-39, 244, 248- 251, 258, 260. Fairbrother, Trevor J. The Virginia and Bagley Wright Collection. Seattle: Seattle Art Museum, pp. 130, 131, 185. Gregos, Katerina. Jeff Koons: A Millennium Celebration. Athens: DESTE Foundation's Centre for Contemporary Art. Phillips, Lisa. The American Century: Art and Culture 1950 – 2000. New York: W.W. Norton & Company, Inc., pp. 310, 319. Riemschneider, Burkhard & Uta Grosenick. Art at The Turn of the Millennium. Taschen America, LLC, p. 286-289. Rosenblum, Robert. On Modern American Art: Selected Essays. New York: Harry N. Abrams, Inc., p. 332-334. 1998 Godfrey, Tony. Conceptual Art. San Francisco: Chronicle Books, p. 392, 394. ----------. Schlaf der Vernunft. Kassel: Museum Fridericianum Kassel, pp. 111-115. ----------. Art in the 20th Century: Collection from the Stedelijk Museum Amsterdam. Seoul: Ho-Am Art Gallery, p. 178-179. ----------. 80 Artistes, Autour du Mondial. Paris : Galerie Enrico Navarra p. 96-97. ----------. Im Augenblick. Hamburg: Helmut Metz Verlag, pp. 113-115. 1997 Livingstone, Marco. Duane Hanson. London: Saatchi Gallery (Art Publishers). Obrist, Hans Ulrich. Jeff Koons. Paris: Galerie Jérôme de Noirmont. Seim, Roland. Zwischen Medienfreiheit und Zensureingriffen. p. 542. Storr, Robert. On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection. New York: Museum of Modern Art, pp. 76-81. Rowell, Margit. Objects of Desire: The Modern Still Life. New York: Harry N. Abrams, Inc., p. 205. W W W . G A G O S I A N . C O M G A G O S I A N 1996 Caldwell, John. The Way We Live Now. This is About Who we are: The Collected Writings of John Caldwell. San Franciso: San Francisco Museum of Modern Art. Weintraub, Linda. Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s. Art Insights, Incorporated, pp. 27, 197- 203. Zaunschirm, Thomas. Kunst als Sündenfall:Tabuverletzungen des Jeff Koons. Freiburg, Germany: Rombach Verlag. ----------. Art at the End of the 20th Century: Selections from the Whitney Museum of American Art. New York: Whitney Museum of American Art, p. 26. ----------. Family Values: American Art in the Eighties and Nineties. Hamburg: Hamburger Kunsthalle, Cover, pp.7, 8, 46-59. ----------. Fractured Fairy Tales: Art in the Age of Categorical Disintegration. Durham:
Load more

Recommended publications
  • Leandro Erlich: Towards a Collaborative Relationship Between Architecture and Art Isabel Tassara [email protected]
    The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Winter 12-16-2016 Leandro Erlich: Towards A Collaborative Relationship Between Architecture and Art Isabel Tassara [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Architectural History and Criticism Commons, Contemporary Art Commons, Interior Architecture Commons, Modern Art and Architecture Commons, and the Museum Studies Commons Recommended Citation Tassara, Isabel, "Leandro Erlich: Towards A Collaborative Relationship Between Architecture and Art" (2016). Master's Projects and Capstones. 436. https://repository.usfca.edu/capstone/436 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Leandro Erlich: Towards a Collaborative Relationship Between Architecture and Art Keywords: contemporary art, museum studies, architecture, interactive installation, international artist, art exhibition, Buenos Aires Argentina, Contemporary Jewish Museum by Isabel Tassara Capstone project submitted in partial FulFillment oF the requirements For
    [Show full text]
  • CIALLING EARTH. Come In. Blue
    FILM From left to right in center, Gretchen Mol, Leonardo DiCaprio, Steve Randazzo and Kenneth Branagh in a scene from Woody Allen's Celebrity. IALLING EARTH. Come in. Blue "Yeah. You. er. see, it's like, well, we're problems, and they expect the world, includ- Planet. Do you read me? Over." lonely. That's it. Yeah. Lonely, like, and ing the idealized woman, to sympathize with 'C ''Er, I mean. I (cough) read you. sad. That's it, (cough) lonely and sad. It's their narcissism. When she leaves them, as Nebula Transhudsonia." like, you know we've got the. er. planetary any sane person must, they must console "What's your situation? We've been blues.'' themselves with a memory of past happiness monitoring your transmissions from the past Celebrity is W^xxly Allen's latest riff on or a hope that things might be better in the century. Age of stays and farthingales van- his life's work, which is an ongoing lugue of future. ished like many of your past civilizations. planetary blues, arranged for solo whine and In "Celebrity" Allen adds a new ingredi- First Watergate tapes. Now jokes about Via- sexually nmed-up chonis. Some ungracious ent. He examines the proposition that fame, gra and the stains on Monica's blue dress. critics claim that his riparian solar system based solely on the notion of being famous, In pubhc. On editorial pages as well as on may be bounded by ihe Hudson, Hai'lem and provides the yellow brick road to fulfill- kite night comedy shows.
    [Show full text]
  • Oral History Interview with Patricia Faure, 2004 Nov. 17-24
    Oral history interview with Patricia Faure, 2004 Nov. 17-24 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Patricia Faure on November 17, 22, 24, 2004. The interview took place in Beverly Hills, California, and was conducted by Susan Ehrlich for the Archives of American Art, Smithsonian Institution. Patricia Faure and Susan Ehrlich have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview MS. SUSAN EHRLICH: This is Susan Ehrlich interviewing Patricia Faure in her home in Beverly Hills, California, on November 17, 2004, for the Archives of American Art of the Smithsonian Institution. This is Disc Number One, Side One. Well, let’s begin with your childhood, where were you born, when were you born, and tell me about your early life and experience? MS. PATRICIA FAURE: I was born in Milwaukee, Wisconsin on April 8, 1928. I grew up there as well, went to school there, until I was 15, when we moved to Los Angeles, because after I was born, immediately after I was born, I got pneumonia. And I had pneumonia at least twice before I was six months old, and at one time the hospital called my parents and said to come and see me, for the last time.
    [Show full text]
  • SHAHRYAR NASHAT Education Solo Exhibitions
    SHAHRYAR NASHAT Born 1975, Geneva, Switzerland Lives and works in Los Angeles Education 2001-2002 Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands 1995-2000. Ecole Supérieure des Beaux-Arts, Geneva, Switzerland Solo Exhibitions 2020 “Force Life,” The Museum of Modern Art, New York “Bad House,” Rodeo, London, England 2019 Swiss Institute, New York “Start Begging,” SMK, National Gallery of Denmark, Copenhagen “Keep Begging,” Rodeo, Athens, Greece 2018 “Image Is an Orphan,” David Kordansky Gallery, Los Angeles 2017 “The Cold Horizontals,” organized by Elena Filipovic, Kunsthalle Basel, Switzerland “MEAN DREAM & SHOULDER REGIME,” Rodeo Gallery, London 2016 “Model Malady,” Portikus, Frankfurt, Germany “Hard Up For Support,” Schinkel Pavillon, Berlin 2015 “Skins and Stand-ins,” Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts “Posers, Smokers and Backup Dancers,” Silberkuppe, Berlin “Prosthetic Everyday,” 356 Mission Road, Los Angeles 2014 Lauréat du prix Lafayette, Palais de Tokyo, Paris Kunstpreis der Stadt Nordhorn 2014 “Shahryar Nashat,” Städtische Galerie Nordhorn, Germany 2012 “Replay the Ruse,” Silberkuppe, Berlin Stunt, Kunstverein Harburger Bahnhof, Hamburg, Germany 2011 “One Stop Jock,” Rodeo, Istanbul “Workbench,” Studio Voltaire, London “Strawberry 96,” Galleria S.A.L.E.S., Rome 2010 “Line Up,” Kunstverein Nürnberg, Nuremberg, Germany 2009 “Remains To Be Seen,” Kunst Halle Sankt Gallen, St. Gallen, Switzerland “Plaque, “Baltic Centre for Contemporary Art, Newcastle, England “Plaque
    [Show full text]
  • KATHRINE GORDON Hair Stylist IATSE 798 and 706
    KATHRINE GORDON Hair Stylist IATSE 798 and 706 FILM DOLLFACE Department Head Hair/ Hulu Personal Hair Stylist To Kat Dennings THE HUSTLE Personal Hair Stylist and Hair Designer To Anne Hathaway Camp Sugar Director: Chris Addison SERENITY Personal Hair Stylist and Hair Designer To Anne Hathaway Global Road Entertainment Director: Steven Knight ALPHA Department Head Studio 8 Director: Albert Hughes Cast: Kodi Smit-McPhee, Jóhannes Haukur Jóhannesson, Jens Hultén THE CIRCLE Department Head 1978 Films Director: James Ponsoldt Cast: Emma Watson, Tom Hanks LOVE THE COOPERS Hair Designer To Marisa Tomei CBS Films Director: Jessie Nelson CONCUSSION Department Head LStar Capital Director: Peter Landesman Cast: Gugu Mbatha-Raw, David Morse, Alec Baldwin, Luke Wilson, Paul Reiser, Arliss Howard BLACKHAT Department Head Forward Pass Director: Michael Mann Cast: Viola Davis, Wei Tang, Leehom Wang, John Ortiz, Ritchie Coster FOXCATCHER Department Head Annapurna Pictures Director: Bennett Miller Cast: Steve Carell, Channing Tatum, Mark Ruffalo, Siena Miller, Vanessa Redgrave Winner: Variety Artisan Award for Outstanding Work in Hair and Make-Up THE MILTON AGENCY Kathrine Gordon 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Hair Stylist Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 and 798 [email protected] www.miltonagency.com Page 1 of 6 AMERICAN HUSTLE Personal Hair Stylist to Christian Bale, Amy Adams/ Columbia Pictures Corporation Hair/Wig Designer for Jennifer Lawrence/ Hair Designer for Jeremy Renner Director: David O. Russell
    [Show full text]
  • Strategic Anomalies: Art & Language in the Art School 1969-1979
    Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ the Art School 1969-1979 ​ ​ ​ ​ ​ ​ Mark Dennis ​ ​ A thesis submitted in partial fulfilment of the University’s ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ requirements for the Degree of Master of Philosophy/Master of ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Research September 2016 ​ ​ Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit.
    [Show full text]
  • JEAN-MICHEL BASQUIAT New York, NY 10014
    82 Gansevoort Street JEAN-MICHEL BASQUIAT New York, NY 10014 p (212) 966-6675 allouchegallery.com Born 1960, Brooklyn, NY Died 1988, Manhattan, NY SELECTED SOLO EXHIBITIONS 2018 Boom for Real, Shirn exhibition hall, Frankfurt, Germany 2015 Basquiat: The Unknown Notebooks, Brooklyn Museum, Brooklyn, NY 2015 Jean-Michel Basquiat: Now’s the Time, Art Gallery of Ontario, Ontario, Canada. Travelled to: Guggenheim Bilbao, Bilbao, Spain 2013 Jean-Michel Basquiat: Paintings and Drawings, Galerie Bruno Bischofberger, Zurich, Switzerland 2012 Warhol and Basquiat, Arken Museum of Modern Art, Ishøj, Denmark 2010 Jean-Michel Basquiat, The Fondation Beyeler, Basel, Switzerland. Traveled to: City Museum of Modern Art, Paris, France 2006 The Jean-Michel Basquiat show, Fondazione La Triennale di Milano, Milan, Italy 2006 Jean-Michel Basquiat 1981: The Studio of the Street, Deitch Projects, New York, NY 2005 Basquiat, Curated by Fred Hoffman, Kellie Jones, Marc Mayer, and Franklin Sirmans Brooklyn Museum, New York, NY Traveled to: Museum of Contemporary Art, Los Angeles, CA, The Museum of Fine Arts, Houston, TX 2002 Andy Warhol & Jean-Michel Basquiat: Collaboration Paintings, Gagosian Gallery, Beverly Hills, CA 1998 Jean-Michel Basquiat: Drawings & Paintings 1980-1988, Gagosian Gallery, Beverly Hills, CA 1997 Jean-Michel Basquiat: Oeuvres Sur Papier, Fondation Dina-Vierny-Musée Maillol, Paris, France 1996 Jean-Michel Basquiat, Serpentine Gallery, London, England; Palacio Episcopal de Mágala, Málaga, Spain 1994 Jean-Michel Basquiat: Works in Black and White,
    [Show full text]
  • Martin Kippenberger, 43, Artist of Irreverence and Mixed Styles
    THE NEW YORK TIMES OBITUARIES 11.3.1997 Martin Kippenberger, 43, Artist Of Irreverence and Mixed Styles By ROBERTA SMITH Martin Kippenberger, widely regarded as one of the most talented German artists of his generation, died on Friday at the University of Vienna Hospital. He was 43 and had moved to Vienna last year. The cause was cancer, said Gisela Capitain, his agent and dealer. A dandyish, articulate, prodigiously prolific artist who loved controversy and confrontation and combined irreverence with a passion for art, Mr. Kippenberger worked at various points in performance art, painting, drawing, sculpture, installation art and photography and also made several musical recordings. He was a ringleader of a younger generation of „bad boy" German artists born mostly after World War II that emerged in the wake of the German Neo-Expressionists. His fellow travelers included Markus and Albert Oehlen, Georg Herold and Günter Förg, and they sometimes seemed almost as well known for their carousing as for their work. Mr. Kippenberger once made a sculpture titled „Street Lamp for Drunks"; its post curved woozily back and forth. In New York City, Mr, Kippenberger was known for a well-received show of improvisational sculptures at Metro Pictures in SoHo in 1987. The pieces incorporated an extensive range of found objects and materials and sundry conceptual premises. He considered no style or artist's work off-limits for appropriation, though his paintings most frequently resembled heavily worked, seemingly defaced fusions of Dadaism, Pop and Neo-Expressionism and often poked fun at the art world or himself. His penchant for mixing media, styles and processes influenced younger artists on both sides of the Atlantic.
    [Show full text]
  • 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.
    [Show full text]
  • VISITOR FIGURES 2015 the Grand Totals: Exhibition and Museum Attendance Numbers Worldwide
    SPECIAL REPORT VISITOR FIGURES2015 The grand totals: exhibition and museum attendance numbers worldwide VISITOR FIGURES 2015 The grand totals: exhibition and museum attendance numbers worldwide THE DIRECTORS THE ARTISTS They tell us about their unlikely Six artists on the exhibitions blockbusters and surprise flops that made their careers U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXV, NO. 278, APRIL 2016 II THE ART NEWSPAPER SPECIAL REPORT Number 278, April 2016 SPECIAL REPORT VISITOR FIGURES 2015 Exhibition & museum attendance survey JEFF KOONS is the toast of Paris and Bilbao But Taipei tops our annual attendance survey, with a show of works by the 20th-century artist Chen Cheng-po atisse cut-outs in New attracted more than 9,500 visitors a day to Rio de York, Monet land- Janeiro’s Centro Cultural Banco do Brasil. Despite scapes in Tokyo and Brazil’s economic crisis, the deep-pocketed bank’s Picasso paintings in foundation continued to organise high-profile, free Rio de Janeiro were exhibitions. Works by Kandinsky from the State overshadowed in 2015 Russian Museum in St Petersburg also packed the by attendance at nine punters in Brasilia, Rio, São Paulo and Belo Hori- shows organised by the zonte; more than one million people saw the show National Palace Museum in Taipei. The eclectic on its Brazilian tour. Mgroup of exhibitions topped our annual survey Bernard Arnault’s new Fondation Louis Vuitton despite the fact that the Taiwanese national muse- used its ample resources to organise a loan show um’s total attendance fell slightly during its 90th that any public museum would envy.
    [Show full text]
  • Martin Kippenberger Self-Portraits at Christie's London on October 11 & 12
    PRESS RELEASE | LONDON | 19 SEPTEMBER 2012 FOR IMMEDIATE RELEASE AN IMPORTANT COLLECTION OF MARTIN KIPPENBERGER SELF-PORTRAITS AT CHRISTIE'S LONDON ON OCTOBER 11 & 12 Martin Kippenberger (1953-1997) Untitled (from the series Hand-Painted Pictures) oil on canvas / 71 x 59in. (180.4 x 149.8cm.) / Painted in 1992 Estimate: £2,500,000-3,500,000 London - In an unprecedented event, Christie’s Post-War & Contemporary Art Department will offer on October 11 and 12 an important collection of Martin Kippenberger (1953-1997) self-portraits, including thirteen works on paper and the seminal oil on canvas, Ohne Titel (Untitled), from the series Hand-Painted Pictures) (1992) (estimate: £2,500,000-3,500,000; illustrated above). The latter was previously exhibited in the major retrospectives of the artist’s work held at the Centre Georges Pompidou, Paris in 1993, Tate Modern, London in 2006, MoCA, Los Angeles and MoMA, New York in 2009. Assembled over the course of a twenty- five year friendship, this collection belongs to someone who knew the artist so well, that these works offer a unique insight and portrait of the artist. Charismatic and irreverent, Martin Kippenberger is remembered for his conceptual and expressive transformation of the 1980s and 1990s art scene. Francis Outred, Christie's Head of Post-War & Contemporary Art, Europe: “Martin Kippenberger's revolutionary influence on contemporary art practice continues to grow by the day. At the source of his wild approach to and disdain for the preconceived notions of the artist's role in society was his own self. His self- portraits lie at the heart of his oeuvre and I have never seen such an outstanding collection, which so accurately documents his development from the 1970s to his tragic, early death in 1997.
    [Show full text]
  • [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.
    [Show full text]