“Jeff Koons Must Die!!!” is an 80’s style stand-up arcade cabinet loaded with a first-person shooter, by Hunter Jonakin, in which players can virtually destroy the work of artist Jeff Koons.
The game is set in a large museum during a Jeff Koons retrospective. The viewer is given a rocket launcher and the choice to destroy any of the work displayed in the gallery. If nothing is destroyed the player is allowed to look around for a couple of minutes and then the game ends. However, if one or more pieces are destroyed, an animated model of Jeff Koons walks out and chastises the viewer for annihilating his art. He then sends guards to kill the player. If the player survives this round then he or she is afforded the ability to enter a room where waves of curators, lawyers, assistants, and guards spawn until the player is dead. In the end, the game is unwinnable, and acts as a comment on the fine art studio system, museum culture, art and commerce, hierarchical power structures, and the destructive tendencies of gallery goers, to name a few.
Twenty-five cents to play. Check out a video of “Jeff Koons Must Die!!!” in action over at Curated.
On the evening of 10 May 2011, Sotheby’s will offer one of the most important works by Jeff Koons ever to have appeared at auction. Pink Panther from 1988 draws on many of the themes that have come to define Koons’ output and stands as one of the outstanding achievements of his illustrious career. The porcelain sculpture is the artist’s proof from an edition of three with the other examples in the Museum of Modern Art in New York, the Museum of Contemporary Art in Chicago and a prominent private American collection, and belongs to the artist’s iconic Banality series that includes Michael Jackson and Bubbles, Bear and Policeman and Ushering in Banality. Pink Panther will appear on the front and back covers of the sale catalogue for the spring Contemporary Art Evening Auction in New York and is estimated to fetch $20/30 million.
“Together with Balloon Dog and Bunny, Pink Panther is a 20th-century masterpiece and one of the most iconic sculptures of Jeff Koons’s oeuvre,” commented Tobias Meyer, Worldwide Head of Contemporary Art at Sotheby’s.
Representing the highest tier of Jeff Koons’ artistic achievement, Pink Panther is immediately identifiable as a masterpiece not only of the artist’s historic canon, but also of the epoch of recent Contemporary Art. It conflates the classic themes that define the artist’s output – materiality and artificiality, eroticism and naivety, popular culture and rarefied elitism – and is the model expression of one of the most innovative and influential artists of our times. Initially unveiled at Koons’ seminal show Banality, held at the Sonnabend Gallery, New York in 1988, Pink Panther has been emblematic of this remarkable series ever since, which is itself regarded as a landmark of Koons’ oeuvre.
In Pink Panther, the display of the woman’s semi-naked body is sensual. However, with the bizarrely incongruous cuddly Pink Panther toy clinging to this literal embodiment of carnal desire, Koons strikes an outrageous contrast between the competing powers of adult and childhood associations. Although the Pink Panther cartoon character was initially created by Hawley Pratt for the opening sequence of the eponymous 1963 film starring Peter Sellers as the bungling Inspector Clouseau, it was only after becoming the protagonist of its own 1960s television show that it entered the mainstream consciousness as a contemporary Pop icon.
The artist’s painstaking selection of media is central to the conceptual project, contributing directly to the importance of the work. The terms of its execution are flawless: the contrasting textures of the porcelain surfaces are rendered in dazzlingly vivid colours that reinforce the object’s artificiality, while the transparent glazes simultaneously evoke the fragility of thin glass and the ethereal nature of a reflective liquid.
Christie’s presents the mid-season Prints & Multiples sale on July 22. Comprised of a cross section of movements and styles, this well selected offering includes work by James Jacques, Joseph Tissot, James Abbott McNeill Whistler, Paul Gauguin, Joan Miró, Sam Francis, Robert Indiana, Roy Lichtenstein, Jeff Koons, Ed Ruscha and Rachel Whiteread, among others. This sale is the ideal opportunity to begin or expand collections for new bidders and seasoned print enthusiasts alike. A broad selection of Pop and abstract art complete the Prints & Multiples sale. A unique example is A Dedicated Follower of Fashion (estimate: $3,000-5,000) by Richard Hamilton, a founder of the Pop movement in Britain.
L’Eté (estimate: $2,500-3,500) by Tissot, is a classic Belle Époque image, embodying the romantic French style of the late 1800’s that glamorized upper class life by depicting the refinement and elegance of the society subject. With an emphasis on opulent decorative details, this image highlights the young woman’s sophisticated and intricate parasol, lace gloves, floral brooch, high collar, and idle gaze. The drypoint technique further embellishes the refined scene as it gives the print a rich, velvety texture. An icon of French academic art, Tissot will be celebrated in an upcoming exhibition at the Brooklyn Museum of Art from October 2009 – January 2010. The abstract art selection is highlighted with prints by Brice Marden, Frank Stella, Richard Serra, Grace Hartigan, and Sam Francis.
The sale also includes a complete signed set of 12 offset lithographs by Marcel Duchamp (estimate: $3,000-5,000). Bright orange, blue, green, red and black colors are printed on both sides of six cardboard disks or Rotoreliefs. When spun on a record player they create the illusion of threedimensional space. Typifying his interest in visual phenomena, the animated Rotoreliefs demonstrate Duchamp’s whimsical ingenuity and inventiveness both graphically and in material choice.
In addition, the sale features fifteen Pablo Picasso earthenware pieces ranging in estimates from $800-5,000. Picasso demonstrated interest in pottery early on in his life but it was not until a vacation to Vallauris, France during which he visited the Madoura Pottery Studio that he fully engaged the medium. The studio invited Picasso to design and create earthenware pieces that were then reproduced under his supervision in the years from 1946 to 1971. The themes explored in these pieces are classic Picasso motifs, including female figures, bull fights, and a cavalier and horse. After the recent success of Picasso’s Mousquetaire à la pipe, which sold for $14.6 million in Christie’s May 6 Evening Sale, the Prints & Multiples sale offers the prime opportunity to collect a Picasso Musketeer on a smaller scale with, Face no. 130 (estimate: $1,200-1,800).
There are also prints by Robert Indiana, including seven of his iconic Love prints (estimate: $2,500-3,500), in addition to prints by Andy Warhol, Tom Wesselmann, Roy Lichtenstein, and a cast iron multiple by Claes Oldenburg. Contemporary Pop artists in the sale include Jeff Koons, Alex Katz, Jim Dine, and James Rosenquist.
The Serpentine Gallery presents an exhibition of the work of the celebrated American artist Jeff Koons. This will be England’s first ever major survey of Koons’s work in a public gallery. For his exhibition at the Serpentine Gallery, Jeff Koons presents works from his Popeye series, which he began in 2002. The works incorporate some of Koons’s signature ideas and motifs, including surreal combinations of everyday objects, cartoon imagery, art-historical references and children’s toys. The sculptures on show continue Koons’s interest in casting inflatable toys. Those typically used by children in a swimming pool are cast in aluminium, their surfaces painted to bear an uncanny resemblance to the original objects. On exhibition 2 July through 13 September, 2009.
Koons has used inflatables in his work since the late 1970s. He further develops his use of cast inflatables in the Popeye series by juxtaposing these replica ready-mades with unaltered everyday objects, such as chairs or rubbish bins. The paintings in the series are complex and layered compositions that combine disparate images both found and created by Koons, including images of the sculptures in the series.
Featuring loans from both public and private collections, the exhibition also includes works that have never been shown publicly before. The immediately recognisable figures of Popeye and Olive Oyl are central in the series and they appear in several prominent works within the exhibition. One of the most iconic American cartoon characters, Popeye was conceived 80 years ago this year in 1929 when the Great Depression was taking hold. In Popeye’s early years, the cartoon addressed the hardships and injustices of the time and, in this current period of economic recession, he is a fitting character to rediscover and explore. Jeff Koons: Popeye Series is curated by Julia Peyton-Jones, Director, Hans Ulrich Obrist, Co-Director, and Kathryn Rattee, Curator, Serpentine Gallery.
Working in thematic series since the early 1980s, Koons has explored notions of consumerism, taste, banality, childhood and sexuality. He is known for his meticulously fabricated works that draw on a variety of objects and images from American and consumer culture.
Jeff Koons first exhibited at the Serpentine Gallery in 1991 as part of the group show Objects for the Ideal Home: The Legacy of Pop Art. His work also appeared in the exhibition Give and Take that was organised by the Serpentine Gallery and the Victoria & Albert Museum in 2000, and as part of In the darkest hour there may be light – works from Damien Hirst’s murderme collection at the Serpentine in 2006.
Koons took part in a headline event in the Serpentine Gallery’s summer events programme, Park Nights, in 2006. He appeared as part of a panel discussion involving Hans Ulrich Obrist and Rem Koolhaas, the architect of that year’s Serpentine Gallery Pavilion. Koons also contributed to Hans Ulrich Obrist’s recent book Formulas for Now, which was presented at the Serpentine Gallery Experiment Marathon in 2007.
Jeff Koons was born in York, Pennsylvania, 1955. His work has been widely exhibited internationally. His most recent solo exhibitions include presentations at the Château de Versailles, France; Neue Nationalgalerie, Berlin; Museum of Contemporary Art, Chicago; and Metropolitan Museum of Art, New York, all in 2008. Koons lives and works in New York.
Serpentine Gallery is one of London’s best-loved galleries for modern and contemporary art. Its Exhibition, Architecture, Education and Public Programmes attract approximately 750,000 visitors a year and admission is free. In the grounds of the Gallery is a permanent work by artist and poet Ian Hamilton Finlay, dedicated to the Serpentine’s former Patron Diana, Princess of Wales. Visit : http://www.serpentinegallery.org/
Christie’s Post-War and Contemporary Art Evening Auction took place this evening and realised £19,063,350 / $31,778,604 / €22,513,816 selling 88% by lot and 86% by value. The top price was paid for Night Playground by Peter Doig (b.1959), 1997/98, an exemplary large scale painting described by the artist as one of his own favourites. It was offered at auction for the first time and realised £3,009,250 / $5,016,420 / €3,553,924, the second highest price for the artist at auction (estimate: £1.5 million to £2 million). A particularly rare urban view, the painting shows night falling on a city playground and portrays the contrast between nature and the man-made. At this evening’s auction, 4 works of art sold for over £1 million / 11 for over $1 million, and buyers (by lot / by origin) were 65% UK and Europe, 29% Americas and 6% Asia.
Francis Outred, International Director and Head of Post-War and Contemporary Art, Christie’s Europe: ‘We are delighted with the results of our sales tonight which continued the trend of strong sold rates seen in the first 6 months of this year at our international auctions. This evening, an active market saw 86% of lots find buyers in a sale that achieved strong prices – in particular, the outstanding result for Peter Doig’s ‘Night Playground’, which made the second highest price ever achieved for the artist at just over £3 million. What was most interesting was that 80% of works sold within or above their pre-sale estimates, and that we welcomed bids from a significant number of new collectors.’
Further highlights of the sale:
1025 Farben (1025 Colours) by Gerhard Richter (b.1932) realised £1,385,250 / $2,309,212 / €1,635,980, and was offered at auction for the first time having been in the ownership of the present European owner since 1974, the year in which it was painted. From a series considered to coincide with the most fruitful period in the artist’s career, the work sold this evening is from the last and most accomplished group of colour charts which he painted.
Country Nurse, 2003, by Richard Prince (b.1949), one of the largest works created for the artist’s celebrated and highly coveted Nurse series, sold for £1,721,250 / $2,869,324 / €2,032,796. For the Nurse series, Prince mined his own extensive collection of trashy romance novels from the 1950s and 1960s, lifting the protagonists and titles from their lurid covers and immersing them in layers of pigment. An exploration of female stereotypes, the series was subject to great attention in 2003 when Prince photographed Kate Moss for W magazine in front of one of his pictures while she was wearing a suggestive nurse’s outfit.
The auction offered 3 works by Jeff Koons (b. 1955) which represented three distinctive moments from the artist’s career, and all of which were offered at auction for the first time. Moustache, 2003, from the artist’s Popeye series sold this evening for £1,105,250 / $1,842,452 / €1,305,300. Flowers, 1986, from the artist’s Statuary series which also included his masterpiece, Rabbit, sold for £337,250 / $562,196 / €398,292; and Walrus (Blue), executed in 1999, sold for £361,250 / $602,204 / €426,636.
Untitled, by Cy Twombly (b.1928) realised £802,850 / $1,338,351 / €948,166, exceeding its pre-sale estimate of £500,000 to £700,000. This important work was executed in 1961, a watershed year in the artist’s career during which he created a number of masterpieces including the Ferragosto series which was recently united in an exhibition dedicated to the artist at Tate Modern last year.
· Rosso Gilera 60 1232 Rosso Guzzi 60 1305 by Alighiero Boetti (1940-1994) sold for £713,250 / $1,188,988 / €842,348 against a pre-sale estimate of £280,000 to £350,000 setting a record price for the artist at auction. Further artist records were established by Transiente by Julie Mehretu (b.1970) which realized £229,250 / $382,160 / €270,744; and Golden Independent Heart, 2004, a 4.5 metre tall, rotating heart made of plastic cutlery by Portuguese artist Joana Vasconcelos (b.1971) whose work has never before been offered at an international auction and which sold for £163,250 / $272,138 / €192,798 (estimate: £80,000 to £120,000).
On June 6th 2009, Punta della Dogana, the new art center for contemporary art of the François Pinault Foundation, opens its doors after fourteen months of renovation entrusted to the Japanese architect Tadao Ando. The first exhibition Mapping the Studio: Artists from the François Pinault Collection, curated by Alison M. Gingeras and Francesco Bonami, is shown simultaneously at Punta della Dogana and Palazzo Grassi and is shaped in response to the particular atmosphere of each space. With its triangular shape, Punta della Dogana split the Grand Canal from the Giudecca Canal. As center for contemporary art , the former monumental port of the city present a permanent exhibition of works from François Pinault Collection.
Undisputed masterpieces of contemporary art by such figures as Jeff Koons, Sigmar Polke, Cindy Sherman, Richard Prince, Cy Twombly, Takashi Murakami or Jake & Dinos Chapman are presented alongside pieces by emerging talents such as Matthew Day Jackson, Adel Abdessemed, Wilhelm Sasnal, Richard Hughes, Nate Lowman, Mark Bradford and Kai Althoff.
Conceived as a single exhibition that will unfold over the two venues, this presentation will be shaped in response to the particular atmosphere of each space: the inward-looking private sphere on one side, and the outward looking, world-at-large on the other. The two halves of the exhibition will constitute a dialogue between artists of different generations, covering a vast range of practices and aesthetic sensibilities.
François Pinault has entrusted the renovation of this 17th century edifice to Japanese architect Tadao Ando. Respecting the spirit of the original building, he has renovated the space in order to house a selection of works from the François Pinault Foundation, one of the world’s most important collections of contemporary art.
Punta della Dogana project
Tadao Ando drew up his plans for the new centre quickly. In effect, if one looks at his drawings one sees that, from the first, the broad outlines of the project were clear in his mind. The characteristic layout of the former warehouses, which occupy the triangular tongue of land where the Grand Canal meets the Giudecca Canal, was to be maintained.
And while extensive work on the foundations was to be carried out – to safeguard the structure from humidity and high water – the layout of the existing lofts was to be modified in order to create a space able to house the artworks of the François Pinault Collection. At a point almost dead-centre of the triangular floor plan, Ando immediately envisaged the creation of a new space standing the entire height of the building: a sort of pivot for the entire layout, this would occupy one of the middle warehouse aisles and was to be created in smooth and polished cement, a material that is now a recognised leitmotif of Ando’s architecture. This axial point – through which run all the routes within the structure – forms a cube, rising vertically within the volume of the building.
The work of restoration had to remove the unwanted accretions that had accumulated over time, with the new partition walls, stairs, walkways and service facilities all clearly identified as such. In effect, there is no attempt to disguise these new additions within the old body of the structure. Instead, there is a continual play of juxtaposition – almost as if Ando’s intention were to insert within the ancient building new volumes and levels that seem to mark out the stratifications added over time, organising them into a veritable spectacle of the structure’s own history.
Finally, he had the idea of creating gates for the water entrances that are explicit quotations of the wonderful gate that Carlo Scarpa designed in 1956. The design of these new doors and windows, though very modern, effectively employed Venetian traditional craft. Tadao Ando has thus succeeded in establishing a dialogue between old and new elements, creating a link between the history of the building, its present and its future.
François Pinault (born 21 August 1936) is a billionaire French businessman who runs the retail company PPR. He is a friend of former French President Jacques Chirac. According to Forbes List of billionaires (2008) he is ranked 39th in the world, with an estimated fortune of US$16.9 billion.
His holding company Artemis S.A., owns (or owned), among others, Converse shoes, Samsonite luggage, Château Latour, the Vail Ski Resort in Colorado, and Christie’s auction house. Artemis also owns Executive Life (now Aurora Life) in California, which was sued by policy holders when the company failed.
Pinault owns one of the biggest collections of contemporary art worldwide. On the magazine ArtReview’s 2006 list of most powerful people in modern art, he was ranked in first place. In 2006 he obtained the ownership of Palazzo Grassi in Venice to display the collection.
Pinault led PPR through a long battle over control of Gucci, the Italian fashion house, which began with an attempted takeover of Gucci by LVMH, the world’s largest luxury goods company. In March of 1999, Gucci asked PPR to acquire an ownership interest in Gucci to help fend off LVMH. The result was a struggle between the two richest men in France, both self-made billionaires — Pinault and Bernard Arnault, the Chairman of LVMH.
The dispute ended in September 2001, when LVMH agreed to sell its shares in Gucci to PPR for $94 a share. As part of the agreement, PPR promised to tender for the balance of the publicly traded shares at a later date. It completed that buy-in in July 2004 and took full control of Gucci.
In 1998, Pinault purchased a majority share of Christie’s auction house. In February 2000, A. Alfred Taubman, majority shareholder of rival company Sotheby’s stepped down amidst a scandal after the Federal Bureau of Investigation had investigated commission-fixing between the two companies. Pinault was not implicated, but rather it was his actions which precipitated the scandal. He fired Christie’s CEO Christopher Davidge over an allegation of extravagant spending. Davidge then admitted the collusion, which had gone on since about 1995, to Artemis’ CEO Patricia Barbizet. In October 2000, Sotheby’s CEO, Diana Brooks admitted her guilt in hopes of receiving a reduced sentence, and implicated Taubman. In December 2001, jurors in a high profile New York City courtroom found Taubman guilty of conspiracy. He served a year and a day in prison and Mrs. Brooks got 3 months of home confinement and a penalty of $350,000. International law permitted Christie’s to avoid prosecution (other than civil penalties).
Currently partnered to Mexican actress/producer Salma Hayek on March 9, 2007, they confirmed they were expecting their first child. On September 21, 2007, she gave birth to daughter Valentina Paloma Pinault at Cedars-Sinai Medical Center in Los Angeles, California. On July 18, 2008, Hayek and Pinault announced the end of their engagement. They later reconciled and were married on Valentine’s Day, 2009 in Paris. On April 25, 2009, they were married a second time in Venice.
Punta della Dogana
Chief Secretary for Administration, Mr. Henry Tang, at the opening ceremony of “Louis Vuitton: A Passion for Creation” exhibition at the Hong Kong Museum of Art said, “During my visit to Paris last year, we reached an agreement with LVMH to bring the “Louis Vuitton: A Passion for Creation” Exhibition to Hong Kong. I am delighted to be here tonight for the opening ceremony.” In a developing open-minded spirit, the Foundation was eager to invite ‘emerging’ Hong Kong artists to take part in this exhibition with the help of a young art critic and curator who lives in China.
“I encourage everyone to take advantage of the golden opportunity to see this spectacular collection of modern art by world-renowned designers, architects and artists. At the same time, works from several local artists will also be on display,” he added.
Symbol of elegance and exquisite French lifestyle, Louis Vuitton has maintained close links with the arts for more than a century and a half. Founded during the industrial era, Louis Vuitton has always been in step with its time, working with the best engineers, decorators and creators. Inventor of the art of travel, the man Louis Vuitton and his successors have forged a strong relationship between traditional know how and present day design.
The arrival of Marc Jacobs and artistic director in 1997 reinforced and underlined the link with artists. Exemplary collaboration with Stephen Sprouse, Takashi Murakami and Richard Prince has marked the history of the relationship between art and commerce. In Hong Kong, the Louis Vuitton and Art exhibition brings this exciting story to life, analysing the unique creative process through installations, where works of art and archive documents are brought together.
The Collection, a Choice
This exhibition of a selection of works from the Fondation Louis Vuitton pour la Création brings together a small number of significant large-scale works (paintings, photographs, video installations) by European, American and Chinese artists. These reflect an urban and energetic culture, leading to fictional landscapes, somewhere between dream and adventure.
Artists include: Jean-Michel Basquiat, Paul Chan, Cao-Fei, Yang Fudong, Gilbert & George, Dominique Gonzalez-Foerster, Andreas Gursky, Pierre Huyghe, Jeff Koons, Bertrand Lavier, Christian Marclay, Richard Prince.
Works by recognised and newly-discovered international artists working in the medium of video will be shown : Bas Jan Ader (Netherlands), Kader Attia, Cyprien Gaillard, Ange Leccia, Philippe Parreno (France), Olga Chernysheva (Russia), David Claerbout (Belgium), Trisha Donnelly, Ryan Trecartin (USA), Steve Mc Queen (Great Britain), Anri Sala (Albania), Zhou Tao (China), Rosemarie Trockel (Germany) among others.
The Château de Versailles will present the exhibition Jeff Koons at Versailles, which will be held from September 10th 2008, to December 14th, 2008 in the Royal Apartments and in the gardens of the Castle. This unique event will present seventeen Jeff Koons’ works, including his most significant works from the Eighties to these days. Paris is no stranger to rows over modern additions to historic spaces, from Marc Chagall’s fresco at the Opéra Garnier to the glass Pyramid at the Louvre, both now hailed as masterpieces.
The project focuses on the close relationship between each work and the space surrounding it. The works have been selected specifically for Les grands apartements at the piano nobile, composed by Les appartements du Roi (The King’s apartments) and Les appartements de la Reine (The Queen’s apartments), which formed a suite of several rooms “en enfi lade”. These large apartments are the most prestigious and important spaces of the Castle, since they were the official halls of the Sun King, composed as one of the richest expression of art and architecture.
The works presented in the exhibition have been selected in situ by Jeff Koons, highlighting an inner relationship between each artwork and the theme of the room, or the specific features of the work and the decorative details and the furnishings of the location, such as the original ancient furniture, the stucco elements and paintings on the walls and the ceilings. Koons’ works create a relation with these sumptuous royal apartments, extraordinary expression of the Baroque period and visual representation of the grandeur of the Roi Soleil. The artworks are the icons of the dialogue between Jeff Koons artistic research and the Baroque art, particularly admired by the artist.
Rabbit, one of Jeff Koons’ masterpieces, is located in Le salon de l’Abondance, the antechamber of the ancient cabinet des curiosités ou des raretés. The work is one of the most well-known and emblematic Koons’ creation. It has a glacial sensuality and lucidity, combined with symbolic levity and abstraction.
In the Queen’s apartments, Large Vase of Flowers is a colourful homage to the French Queen and to theme of maternity, since it will be presented in the room in which the “dolphins” – the princes designated to the crown – were born. The work also refers to Rococo, especially to Fragonard and Boucher.
Lobster is installed at Le salon de Mars, dedicated to the Greek god and, in the same time, to the planet. The colourful shape and design of the work derive from the inflatable children’s pool toys, but the material used by the artist – polychromatic aluminium – transforms this everyday objects into an unexpected works of art.
The exhibition will also include the gardens of the Castle, in which one important work Split Rocker, a sculpture created by ten of thousand flowers, will be installed in the Parterre de l’Orangerie. Flowers are a recurring elements throughout Koons’ work: they are a symbol of life and grace. The work combined two different profiles of rockers – a blue rocking horse and an animated dinosaur – and these split parts are sustained by an interior architectural structure.
But even before the show opens, controversy is raging. Rightwingers wrote to the culture minister, protesting that the “sacred” site of Versailles would be cheapened. Then the French media questioned whether the exhibition at a palace that symbolises the French revolution would benefit a billionaire French collector.
François Pinault, whose business empire includes Gucci and the Christie’s auction house, is one of the most influential private collectors in the modern art world. Alongside several other private collectors, he is a key patron of the Koons exhibition, lending six of the 17 works on show, including the giant outdoor flower sculpture Split Rocker.
As Paris struggles to shed its image as a fusty “museum city” and compete with London, Berlin and New York’s vibrant modern art scenes, there is a new trend for traditional museums to bring in controversial contemporary work. The Louvre now has a modern art curator and this year took the daring step of showing works by the Belgian artist Jan Fabre alongside masters such as Rubens. The Château de Fontainebleau is just following suit with Koons
Koons told Le Figaro he did not want “to be the agent provocateur”, but simply to “create an abstraction”.
The contemporary artist and provocateur Jeff Koons is one of the most well known and intriguing artists of the 20th century. The seductive surfaces, luxurious scale and quality, and flawless execution of his works – many of which have become icons, such as Rabbit, Michael Jackson and Bubbles, and Puppy – transform everyday objects and fantasies into high art. After presenting the first survey of Koons’ work in 1988, the MCA is revisiting the work of this seminal figure in contemporary art, exploring his powerful influence on contemporary art and his significance for a new generation. The MCA exhibition Jeff Koons, on view May 31 to September 21, 2008, is his first major US museum survey in fifteen years and will only be presented in Chicago.
Today marks the opening of Jeff Koons exhibition on the Cantor Roof Garden at the Metropolitan Museum of Art. Consosting of three impressive and overwhelming sculptures entitled “Coloring Book,” “Sacred Heart (Red/Gold)” and “Balloon Dog” which will stay up until October 26 giving you plenty of time to admire the work of the famed artist and the view of the NYC skyline
Via: NY Times