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Jeff Koons: Conversations with Norman Rosenthal Free FREE JEFF KOONS: CONVERSATIONS WITH NORMAN ROSENTHAL PDF Jeff Koons,Norman Rosenthal | 296 pages | 07 Oct 2014 | Thames & Hudson Ltd | 9780500093825 | English | London, United Kingdom Jeff Koons And Sir Norman Rosenthal In Conversation Fotografías e imágenes de stock - Getty Images Magazine article The Spectator. Jeff Koons is, by measures understood in Wall Street, the most successful living artist. But he's a slick brand manager rather than a tormented Jeff Koons: Conversations with Norman Rosenthal soul. The Koons brand Jeff Koons: Conversations with Norman Rosenthal a stainless steel bust of Louis XIV, a red aluminium lobster and balloon dogs, plus countless knock-offs of novelty-store dross. It is tempting to think Koons a vulgarian and condemn his art as crapola, but to do so would be lazy. There's no point in criticising him for his cynical exploitation of the credulous art market, since that is exactly his intention. Futile to damn him as vacuous; he'd be flattered. All artistic achievement can be assessed in Jeff Koons: Conversations with Norman Rosenthal of skill, talent and genius. Koons has very little technical skill: his work is made by production-line assistants. He stands back from the process and the product. Oh yes, we have been here before. The great Robert Hughes said that, so far as a sculptor's skills were concerned, Koons would have difficulty carving his name on a tree. But he has talent and genius in abundance. The sheer nerve of seeing through such a vast amount of derivative tosh is in itself a source of admiration and fascination. Early on, he was a tribute-groupie of the first generation of Pop Artists. Then he evolved into a very clever impresario of re-manufactured tat. Is it kitsch to reproduce kitsch? That was a recurrent question as, suppressing the gag reflex, I leafed through this book. I want to be careful not to dismiss him entirely. Who is to say whether the industrialised high finish of a Koons balloon 'sculpture' will not one day be seen with the same affection that we now accord Caravaggio's chiaroscuro or Van Gogh's impasto? Koons's crass one-liners might be an articulate commentary on our troubled civilisation. Ilona Staller, a comely Italian stripper who was briefly his wife, muse and well-publicised model, was his La Fornarina, his Simonetta Vespucci, his Hendrickje Stoffels. What Koons does is play with the idea of art, or of what art has become. I doubt that any very sensitive or intelligent person would feel exaltation when confronted by a Koons, but it is not worth getting cross about his sub-adult work. Its expensive and charmless vacuity is perhaps a penetrating comment on contemporary values. Meanwhile, more certainly, Koons's vast influence and huge wealth have a poisonous effect on a younger generation of ambitious artists equipped merely with skill. To understand what's happening, you need to Jeff Koons: Conversations with Norman Rosenthal the miscegenated and incestuous couplings of the art world. An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while. Read preview. We use cookies to deliver a better user experience and to show you ads based on your interests. By using our website, you agree to the use of cookies as described in our Jeff Koons: Conversations with Norman Rosenthal Policy. Thames & Hudson USA - Book - Jeff Koons: Conversations with Norman Rosenthal Dear Karena, I'm sure you're going to get a wide range of comments on the work of Jeff Koons, but there is no denying that he has a fertile imagination and loads of talent. I'm attracted to the blue moon in the palace salon, and I can imagine that the original inhabitants would have enjoyed it, too. I made a point to visit the exhibit at the Whitney this summer. It was amazing how enormous the exhibit was. I wasn't completely familiar with all of his work, so some of it took me by surprise. I think my favorite of his work though was Split Rocker, which was the huge sculpture installation at Rock Center. Loved how it was an organic, living piece. His art definitely brings a smile to my face. So creative, and with a sense of humor. Thanks for sharing! I would Love to know WHO decides a person has talent! Hi Karena, Great review! Although slightly familiar with Jeff Koons, I have not been aware of his international influence. I'm now going to pay more attention. Eccentric in all sense of the word. Indeed he has a vivid range in creating, truly a moody artist, and the blue moon would be a choice of mine! Karena, you keep us on our toes Jeff Koons: Conversations with Norman Rosenthal, taking in all the art you post while opening our Jeff Koons: Conversations with Norman Rosenthal to what we would like in our own home. Not sure what to personally think of him, or how he moves me in any artful direction : Good, and pure days ahead of you creating all you create Xx Dore. Of course one might not find my salvage typography LOVE sign art in itself either! Xoxo Dore. Someone who can make art from vacuum cleaners has got to be one that I can admire Post a Comment. Jeff Koons is undeniably one of the most prominent and iconic of 21st Century Pop Artists. It is full of depth and perceptions that will surprise and delight you. The Arts by Karena. Please sign up for email notifications to receive Jeff Koons: Conversations with Norman Rosenthal latest features! Lastly I appreciate your comments; they truly make my day! Newer Post Older Post Home. Subscribe to: Post Comments Atom. Bourgeois Bust-Jeff and Ilonamarble. Moon Mirror-polished stainless steel with transparent color coating. Jim Beam-J. Turner Train Stainless Steel and Bourbon. Jeff Koons Artwork Jeff Jeff Koons: Conversations with Norman Rosenthal is, by measures understood in Wall Street, the most successful living artist. The Koons brand includes a stainless steel bust of Louis XIV, a red aluminium lobster and balloon dogs, plus countless knock-offs of novelty- store dross. It is tempting to Jeff Koons: Conversations with Norman Rosenthal Koons a vulgarian and condemn his art as crapola, but to do so would be lazy. All artistic achievement can be assessed in terms of skill, talent and genius. Koons has very little technical skill: his work is made by production-line assistants. He stands back from the process and the product. Oh yes, we have been here before. But he has talent and genius in abundance. The sheer nerve of seeing through such a vast amount of derivative tosh is in itself a source of admiration and fascination. Early on, he was a tribute-groupie of the first generation of Pop Artists. Then he evolved into a very Jeff Koons: Conversations with Norman Rosenthal impresario of re-manufactured tat. Is it kitsch to reproduce kitsch? That was a recurrent question as, suppressing the gag reflex, I leafed through this book. I want to be careful not to dismiss him entirely. Ilona Staller, a comely Italian stripper who was briefly his wife, muse and well-publicised model, was his La Fornarina, his Simonetta Vespucci, his Hendrickje Stoffels. What Koons does is play with the idea of art, or of what art has become. I doubt that any very sensitive or intelligent person would feel exaltation when confronted by a Koons, but it is not worth getting cross about his sub- adult work. Its expensive and charmless vacuity is perhaps a penetrating comment on contemporary values. He soon joined the self-adoring conga line of curators, critics and art-fair entrepreneurs who populate the art world. The art world is an enclosed order every bit as narrow and purblind and obsessive and exclusive as budgie world or caravan world. The latter is the rebarbative curator who, via his hosting of the Sensation exhibition when he was in charge of these things at the Royal Academy, has forever become associated with the Young British Artists. He is a sort of aestheticised Simon Cowell. Of course, the YBAs hold the egregious Koons and his tacky achievements in thrall. Yet to the dusty old academicians, Rosenthal vaingloriously debauched a fine and ancient tradition by prioritising meretricious and attention-seeking rubbish. Myra Hindley, anyone? To others, he was a bold innovator with a fresh eye. The truth is perhaps somewhere in between. It is so bad, satire is impossible, so here are my two favourite exchanges. They give a clear impression of the critical insights available in this book. NR: Which part of Europe did [your family] come Jeff Koons: Conversations with Norman Rosenthal, do you know? JK: From Germany. NR: So they were a German family. I once met Koons in Paris. He was rather likeable: dapper in a suit, trim and with a nice tan. The expensive dentistry was almost electro-luminescent. Indeed, he looked for all the world like Jeff Koons: Conversations with Norman Rosenthal bond trader he once was. Here is the transcript of a conversation we never had:. SB: Your work makes me feel sick and depressed. SB:I find your insistent repetition of feeble ideas boring. SB: How much are you worth? JK: Several billion dollars. I am not saying Koons is kitsch, but there is no anger here. Just deadly smugness. Text settings. More from The Spectator. About us..
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