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ROGERS V. KOONS -A VICTORY a Different Medium
This conclusion applies, the Court said, even though the sculpture was in ROGERS V. KOONS -A VICTORY a different medium. Koons' sculpture was based upon Rogers' pre-exlstlnq copyrighted photograph - and was OVER "APPROPRIATION" OF therefore a "derivative work" under the Copyright Act. The Act specifically provides that copyright protection in IMAGES cludes the exclusive right to create and license derivative works based upon the copyrighted work. "In By Michael D. Remer, ASMP Legal Counsel copyright law:' said the Court, "the medium ls not the message, and a t is basic law that when a photographer creates an change In medium does not preclude original image, that image is protected by copyright infringementII from the moment the shutter clicks. The copyright is I (It is worth.noting that in support of this owned by the photographer (assuming that it has not conclusion, the Court cited a 1924 been given up under work for hire or an all rights assign case which held that "a piece of statuary may be infringed by a picture ment). And unauthorized use of the image infringes the of the statuary:' The KQm court ob photographer's copyright. served that it was equally true that a SCUlpture may infringe a Clear enough - but apparently not to this "colorized" version of the photographer'S copyright. But those people who feel justified in "ap Rogers photograph. When Scanlon photographers also should under propriating" a photographer's saw the newspaper photograph, he stand the lesson of the 1924case- an copyrighted image for use in their art realized that it was not Rogers' unauthorized photograph of work In another medium. -
The Paintings of Jeff Koons: 1994 – 2008
THE PAINTINGS OF JEFF KOONS: 1994 – 2008 A Thesis Submitted to the Temple University Graduate Board ________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS By Ian J. Zoller January 2010 Thesis Approvals: Dr. Gerald D. Silk, Thesis Advisor, Art History Department Dr. Susanna W. Gold, Art History Department ii ACKNOWLEDGEMENTS Thank you to my professor and advisor, Dr. Gerald Silk, for his insights, comments, and advice, which helped me craft my thesis into its present form. Also, thank you to my second reader, Dr. Susanna Gold, for her willingness to be a part of this process and for providing thoughtful insight into my paper. Thank you to the Temple Art History Department secretary, Michelle Gudknecht, for her assistance in a variety of areas either directly or indirectly connected to the completion of my thesis and Master’s degree. Thank you to my parents, James and Donna Zoller, for their concern and never- ending encouragement in the pursuit of this Master’s degree. Mom, thank you for the regular inquiries about my thesis and for reminding me that there’s a light at the end of the tunnel. Pop, thank you for giving me the article on Jeff Koons to begin with, which proved to be the impetus for my thesis topic. Thank you also for reading my proposal and first draft and providing feedback which helped me to think constructively about my writing as well as encouraging me to persevere through many frustrations. Thank you to my new wife, Kristen, for gently encouraging me along the way before and after our marriage while pursuing her own Master’s degree. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
Games Are Not Coffee Mugs: Games and the Right of Publicity, 29 Santa Clara High Tech
Santa Clara High Technology Law Journal Volume 29 | Issue 1 Article 1 12-13-2012 Games Are Not Coffee uM gs: Games and the Right of Publicity William K. Ford Raizel Liebler Follow this and additional works at: http://digitalcommons.law.scu.edu/chtlj Recommended Citation William K. Ford and Raizel Liebler, Games Are Not Coffee Mugs: Games and the Right of Publicity, 29 Santa Clara High Tech. L.J. 1 (2012). Available at: http://digitalcommons.law.scu.edu/chtlj/vol29/iss1/1 This Article is brought to you for free and open access by the Journals at Santa Clara Law Digital Commons. It has been accepted for inclusion in Santa Clara High Technology Law Journal by an authorized administrator of Santa Clara Law Digital Commons. For more information, please contact [email protected]. FORD LIEBLER 11/26/2012 3:56 PM ARTICLES GAMES ARE NOT COFFEE MUGS: GAMES AND THE RIGHT OF PUBLICITY* William K. Ford† and Raizel Liebler†† * Earlier versions of this paper were presented at the 2011 Works-in-Progress Intellectual Property Colloquium, Boston University (Feb. 11, 2011); 2011 Intellectual Property Scholars Roundtable, Drake University Law School (Apr. 1, 2011); and The Game Behind the Video Game, Rutgers School of Communication and Information (Apr. 9, 2011). We thank Stephanie Acosta, Keidra Chaney, Jessica de Perio Wittman, Shannon Ford, Jon Garon, Greg Lastowka, Tyler Ochoa, David L. Schwartz, and Corey Yung for comments on earlier versions of this paper. We thank Young-Joo Ashley Ahn, Lyndsay Ignasiak, and Kimberly Regan for research assistance. A special thanks to Nathan Ford and Adin Simon for innumerable hours playing “childish” games with the authors in preparation for this paper. -
Jeff Koons Alcanzó La Fama a Mediados De La Década De 1980
Biografía Jeff Koons alcanzó la fama a mediados de la década de 1980, siendo miembro de una generación de artistas que exploraban el sentido del arte en una era saturada por los medios de comunicación y la consiguiente crisis de la representación. Basándose en el lenguaje visual de la publicidad, el marketing y la industria del ocio y con el propósito de "comunicarse con las masas", Koons puso a prueba los límites entre la cultura popular y la elitista. Sus elementos escultóricos incluyen aspiradores en cajas de plexiglás, balones de baloncesto flotando en peceras de cristal, figurillas de porcelana de Michael Jackson y la Pantera Rosa, y vidrieras con imágenes de sí mismo haciendo el amor con la que entonces era su esposa, Ilona Staller, conocida como Cicciolina (ex estrella de cine porno y ex diputada del parlamento italiano). Al continuar con el legado de las piezas de Marcel Duchamp, y al integrar referencias al Minimalismo y al Arte Pop, Koons presenta el arte como un producto de consumo que no se puede incluir dentro de la jerarquía de la estética convencional. Con Puppy, Koons aúna pasado y presente, pues emplea un sofisticado modelo de ordenador para crear una obra que hace referencia a un jardín clásico europeo del siglo XVIII. El West Highland terrier gigante completamente cubierto de plantas en flor emplea la iconografía más edulcorada —flores y perritos— en un monumento al sentimentalismo. Su imponente tamaño, firmemente contenido y, al mismo tiempo, aparentemente descontrolado (todavía creciendo, en sentido literal y figurado), y la yuxtaposición de referencias elitistas y de la cultura popular (el arte de esculpir arbustos y la cría de perros, cerámica decorativay tarjetas con mensajes de buenos deseos) se pueden interpretar como una analogía de la cultura contemporánea. -
Gagosian Gallery
Smithsonian June 19, 2015 GAGOSIAN GALLERY Shine On: Jeff Koons in Bilbao Frank Gehry's titanium-clad Guggenheim plays host to a stunning survey of Koons's larger- than-life career Stephanie Murg Artist Jeff Koons admires his Puppy (1992). Carpeted in colorful swaths of flowering plants, the 41-foot-tall Westie joined the Guggenheim Bilbao’s permanent collection in 1997 and stands in the square just outside the museum entrance. (Courtesy Guggenheim Bilbao) Swooping along a riverbank in Spain’s Basque Country, the titanium-clad Guggenheim Museum Bilbao is guarded by a giant, flower-covered West Highland white terrier, a breed the American Kennel Club describes as “exhibiting good showmanship” and “possessed with no small amount of self-esteem.” The same can be said of the canine’s creator, artist Jeff Koons, who recently reunited with the sculpture as the museum unveiled an exhibition that brings together nearly four decades’ worth of his diverse, yet unmistakable work. “With a work like Puppy, I hope that the public feels like they are participating in a Dionysian festival,” says Koons in his signature cadence: a honeyed, hypnotic lilt that is halfway between kindergarten teacher and cult leader. “And I hope that there are hints of that when you go through the exhibition. What I try to accomplish with my work is to have a dialogue on a grand scale—about internal life and the external world, how we can enrich our lives, how we can all participate in transcendence.” Surpassing expectations is also Bilbao’s claim to fame. The Guggenheim’s 1997 debut there, in its dazzling Frank Gehry-designed home, sent cities around the world scheming to replicate the culturally driven civic reinvention that was soon dubbed “the Bilbao effect” (in Bilbao, it is known as “the Guggenheim effect”). -
17 Apariencia Desnuda
Apariencia desnuda El deseo y el objeto en la obra de Marcel Duchamp y Jeff Koons, aun Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even MUSEO JUMEX 19.MAY.–29.SEP.2019 #17 EXPOSICIÓN / EXHIBITION Exposición organizada por / Exhibition organized by Museo Jumex Curador invitado / Guest Curator Massimiliano Gioni Curadora asociada invitada / Guest Associate Curator Natalie Bell Simulaciones de diseño de exhibiciones y modelado digital / Exhibition Design Simulations and Digital Modeling Ian Sullivan Diseño gráfico / Graphic Design Goto Design MUSEO JUMEX Coordinadora de la exposición / Exhibition Coordinator Begoña Hano Asistente curatorial / Curatorial Assistant María Emilia Fernández Registro / Registrar Luz Elena Mendoza Asistente de Registro / Assistant, Conservation and Collection Mariana López, Astrid Esquivel Producción / Production Francisco Rentería, Enrique Ibarra Montaje / Installation Team Óscar Díaz, Iván Gómez, José Juan Zúñiga Coordinación audiovisual / Audiovisual Coordinator Daniel Ricaño Agradecemos el apoyo de: Publicado por / Published by Fundación Jumex Arte Contemporáneo © 2019 Jeff Koons, The New Jeff Koons, 1980. Impresión Duratran, caja de luz fluorescente [Duratran, fluorescent light box]. Colección privada Apariencia desnuda El deseo y el objeto en la obra de Marcel Duchamp y Jeff Koons, aun Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even MUSEO JUMEX 19.MAY.–29.SEP.2019 #17 Apariencia desnuda. El deseo y el objeto en la obra de Marcel Duchamp y Jeff Koons, aun #17 INTRODUCCIÓN Massimiliano Gioni La exposición Apariencia desnuda yuxtapone las obras de Jeff Koons y de Marcel Duchamp con el fin de analizar conceptos clave relacionados con los objetos, las mercancías y la relación del artista con la sociedad. -
Gagosian Gallery
The New York Times June 11, 2014 GAGOSIAN GALLERY Think Big. Build Big. Sell Big. Whitney Restrospective for Jeff Koons’s Monumental Ambitions Carol Vogel Jeff Koons at a foundry in upstate New York where his enormous piece “Play-Doh” is being prepared for a retrospective at the Whitney Museum. Chang W. Lee/The New York Times On a spring afternoon with his first major retrospective in New York looming, the artist Jeff Koons, nattily dressed in navy blue from head to toe, calmly boarded a helicopter heading for a foundry in upstate New York. His mission was to check up on his “Play-Doh,” a monumental sculpture depicting the squidgy material ubiquitous in American playrooms. Back in 1994, Mr. Koons set out to replicate a colorful mound of Play-Doh configured by his son, Ludwig. It was to have been fashioned from polyethylene, and after seeing the model, a Los Angeles collector named Bill Bell agreed to buy “Play-Doh” on the spot. “But as I started putting more and more detail in the piece, I realized I needed to make it out of aluminum to get a more hyper-realistic surface,” Mr. Koons said, as if to justify the sculpture’s long gestation. Twenty years later, “Play-Doh” is still in 27 pieces, and Mr. Bell has never seen it finished. Neither has the Whitney Museum of American Art, where the 10-foot-tall work is to be a centerpiece of its coming Koons survey, one that will consume more space than the museum has ever devoted to a single artist, including Mark Rothko, Edward Hopper or Georgia O’Keeffe. -
Press Release
Press release The Guggenheim Museum Bilbao presents on June 9, 2015 Jeff Koons: A Retrospective Sponsored by One of the hallmarks of the BBVA Foundation has always been its support for the advancement of knowledge and innovation, be it in basic and environmental sciences, cutting-edge technology, biomedicine, healthcare, the humanities, or general culture. Acting as a driving force of high-impact cultural activities is part of the strategic plan that the Foundation practices through long-term programs and with first-rate partners. Our collaboration as Strategic Trustee of the Guggenheim Museum Bilbao fits within this context. This partnership, which dates back to the opening of the Museum eighteen years ago, has made it possible to organize exhibitions featuring major works of art that had never previously been shown in Spain. It has also made it possible to implement truly original approaches in exhibition concept and design. Today, we are proud to present the most important retrospective to date devoted to the celebrated contemporary artist Jeff Koons. After a world tour that included the Whitney Museum in New York and the Centre Pompidou in Paris, the retrospective is reaching port at the Guggenheim Museum Bilbao. Around a hundred pieces from Koons’s various artistic stages afford the public the opportunity to survey Koons’s career and the full scope of his work, which constitutes a personal reaffirmation of the artist. His oeuvre, whose diverse series from the 1970s up through the present day are displayed chronologically in the Museum’s galleries, is populated with art historical references, especially to Surrealism, Pop Art, and Dadaism. -
Jeff Koons Born 1955 in York, Pennsylvania
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Jeff Koons Born 1955 in York, Pennsylvania. Lives and works in New York. EDUCATION B.F.A., Maryland Institute College of Art, Baltimore, Maryland SOLO EXHIBITIONS 2021 Jeff Koons. Shine, Fondazione Palazzo Strozzi, Florence [forthcoming] 2020 Jeff Koons: Absolute Value / From the Collection of Marie and Jose Mugrabi, Tel Aviv Museum of Art, Tel Aviv 2019 Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even, Museo Jumex, Mexico City [two-person exhibition] [catalogue] Jeff Koons at the Ashmolean, Ashmolean Museum of Art and Archaeology, University of Oxford, England [catalogue] Jeff Koons: One Ball Total Equilibrium Tank, Mattatuck Museum, Waterbury, Connecticut 2018 Jeff Koons: Easyfun-Ethereal, Gagosian Gallery, New York Jeff Koons: Works from the Astrup Fearnley Collection, Astrup Fearnley Museet, Oslo [collection display] Masterpiece 2018: Gazing Ball by Jeff Koons, De Nieuwe Kerk Amsterdam, Amsterdam 2017-2019 Heaven and Earth: Alexander Calder and Jeff Koons, Museum of Contemporary Art Chicago [two-person exhibition] 2017 Jeff Koons, Gagosian Gallery, Beverly Hills 2016 Jeff Koons, Almine Rech Gallery, London Jeff Koons: Now, Newport Street Gallery, London 2015 ARTIST ROOMS: Jeff Koons, Norwich Castle Museum & Art Gallery, England Jeff Koons: Gazing Ball Paintings, Gagosian Gallery, New York Jeff Koons in Florence, Museo di Palazzo Vecchio, Florence [organized in collaboration with the 29th Biennale Internazionale dell’ Antiquariato di Firenze, Florence] [exhibition publication and catalogue] Jeff Koons: Jim Beam - J.B. Turner Engine and six indivual cars, Craig F. -
Desde Las Orillas Del Sena Tomo VIII Serie “Cartas a Ofelia”
Desde las orillas del Sena Tomo VIII Serie “Cartas a Ofelia” Félix José Hernández Desde las orillas del Sena A los inolvidables Doña María Luisa y Don Carlos Senra. 2 Desde las orillas del Sena Miguel de Cervantes Saavedra "La Libertad, Sancho, es uno de los más preciosos dones que a los hombres dieron los cielos; con ella no pueden igualarse los tesoros que encierra la tierra ni el mar encubre; por la libertad así como por la honra se puede y debe aventurar la vida, y, por el contrario, el cautiverio es el mayor mal que puede venir a los hombres". Miguel de Cervantes Saavedra 3 Desde las orillas del Sena Mis Memorias de Exilio en Google París, 30 de agosto de 2015. Queridos amigos: Gracias a la ayuda del historiador cubano Ferrán Núñez, podrán encontrar y descargar gratuitamente en Google Drive, los veintiséis libros que reúnen todas las crónicas que he escrito desde mayo de 1981 hasta junio de 2015 en español, francés e italiano. Se encuentran la siguiente dirección: 4 Desde las orillas del Sena https://drive.google.com/folderview?id=0B2JGTV0Z- vJ5fkwyck1hbENQT2pDWC1ZLUFqZTBqVjZNQUR4aGJWblllT09kY mpWeUhlSGc&usp=sharing Son narraciones surgidas inicialmente a partir de las cartas que escribía cada semana a mi madre, Ofelia Valdés Ríos, contándole mis experiencias del exilio parisino. En ellas cuento lo que veo y siento: filmes, obras de teatro, museos, exposiciones, los libros que leo, las relaciones con los galos, la sociedad francesa, la política, Cuba vista desde aquí, los viajes por 65 países a lo largo de estos 33 años, mis éxitos y mis fracasos, mis nostalgias y mi amor por la Libertad, las relaciones con personalidades del exilio, mi trabajo en el Instituto y en la Universidad como profesor de Civilización Latinoamericana, las relaciones con colegas, alumnos y estudiantes, etc., en resumen, es la experiencia vivida por una familia cubana en todos estos años. -
Tulips Simply Because We Love to Look Flower; They’Ve Been Painted More Than Any a Tulip Was Once the Most Trying to Explain Why We Humans Grow at Them
JULY 29 2017 ISSUE TULIP ART MANIA! THE EXHIBITION OPENS at THE BOWES MUSEUM Around the beautiful Victorian halls of The Bowes Museum, In this unique Museum created by Joséphine and John Bowes winding up grand staircases into its picture galleries and opulent the familiar tulip becomes un-familiar, as its role in history rooms, tulip artworks have been placed like clues to a treasure hunt chronicles a greater play. When the plot on the world stage or a detective mystery. As a timely and enlightening exhibition gets confusing, we need a simple tale to walk us through it. celebrating 125 years of The Bowes Museum this engaging trail Thus our floral court jester steps through the fourth wall to meanders through the history, culture and science of the last 1000 guide us through our past and help us to understand how to years from Central Asia to Western Europe and back again. navigate our future. PAUL SAKOILSKY, Flower Fool (Kunst Clown series), 2017 HOW TULIP MANIA TRAVELS THROUGH TIME responsible for economic disasters and DID YOU KNOW? revolutions while being revered as a divine Imagine talking to friendly aliens and tulips simply because we love to look flower; they’ve been painted more than any A tulip was once the most trying to explain why we humans grow at them. But that only lasts for a week other flower for their uniqueness, yet are expensive flower in the world! billions of tulips. These flowers are of or so because before you know it the now grown on every continent.