Share on Facebook Share on Twitter Email
Answers.com

Jeff Koons

 
Art Encyclopedia: Jeff Koons
Home > Library > Entertainment & Arts > Art Encyclopedia

(b York, PA, 21 Jan 1955). American artist. He trained at Maryland Institute College of Art, Baltimore (BA 1976), and worked as a Wall Street commodities broker before embarking upon his career as an artist. In the 1980s he won international recognition as a radical exponent of Neo-Geo, an American movement concerned with appropriation and parody. Following the example of Pop artists of the 1960s, Koons used his work to reflect the commercial systems of the modern world. He also referred back to the Duchampian tradition, appropriating an art status to selected products. His vacuum cleaners encased in perspex (1980-81; see 1993 exh. cat., pls 5-9) were classified as monuments to sterility. His immaculate replicas of domestic products, advertisements, kitsch toys and models exercised an enthusiastic endorsement of unlimited consumption, unlike the veiled criticism of some work of the first generation of Pop artists. Koons perceived Western civilization as a driven society, flattered by narcissistic images and with a voracious appetite for glamorous commodities. In his expressions of the ecstatic and the banal he did not hesitate to breach the borderlines of taste; in the body of work titled Made in Heaven (1989-91; see 1993 exh. cat., pls 48-65) he featured explicit sexual photographs and models of himself with his wife Ilona Staller ('La Cicciolina'). Such works were naturally highly controversial.

See the Abbreviations for further details.


Search unanswered questions...

Enter a question here...
Search: All sources Community Q&A Reference topics

Biography: Jeff Koons
Top
Home > Library > Miscellaneous > Biographies

In the tradition of Marcel Duchamp, Dada, and Pop Art, American artist Jeff Koons (born 1955) created controversial works of art that forced the spectator to reexamine the impact of consumerism and popular culture on both the individual and contemporary society.

Jeff Koons was born in York, Pennsylvania, in 1955. Koons's father, a furniture store owner and interior designer, early on encouraged his son's interest in art. By the age of 18, Koons enrolled at the Maryland Institute College of Art in Baltimore, where he was a student between 1972 and 1975. During his senior year, Koons decided to spend his time studying at the School of the Art Institute of Chicago while simultaneously working at the Museum of Contemporary Art in the installations department. In 1976 he returned to the Maryland Institute to finish his course requirements for the Bachelor of Fine Arts before moving to New York in 1977. While in New York he found employment at the Museum of Modern Art working in the museum's membership department while at the same time pursuing his artistic endeavors.

Transforms Everyday Objects

Perhaps one of the most controversial artists of his generation, Koons provoked a wide array of critical responses that oscillated between those who saw him as a latter-day standard bearer of the Dada and Pop movements to those who viewed his art as the product of a shameless self-promoter and charlatan who relied upon kitsch and shock tactics to draw attention to himself. Koons's work appears to follow the traditions established by Marcel Duchamp in his use of the "ready-made" or "found" object, Jasper Johns and his characteristic material transformations of everyday consumer objects into works of art, and Robert Rauschenberg's appropriation of commercial imagery found in popular magazines and the news media. Most of Koons's art makes use of manufactured commercial products: some were bought directly from the store while others were "remanufactured" either by the artist himself or by hired artisans. Koons appropriated these objects and decontexualized them and, like Duchamp before him, raised the objects to the aesthetic and intellectual level. Thus he forces us to see these inanimate consumer objects as things that are capable not only of revealing something about ourselves and the culture in which we live but of illuminating questions surrounding the very meaning of life as well.

Among Koons's first important projects was a series of installations started in 1979 and continued throughout the 1980s that made use of ordinary, store-bought Hoover vacuum cleaners, shampoo machines, and polishers exhibited alone, in pairs, and/or in quadruplicate. All were encased in Plexiglas cases together with fluorescent tube lighting placed either beneath or behind the machines. Thus these appliances seem to be icons of popular and domestic culture and of the consumerism that characterizes the modern world, but they are also animated appliances that, isolated from their normal utilitarian contexts, take on a strangely human, physical presence as "breathing machines."

In 1985 Koons embarked on a series of works involving the use of inflatables such as a raft, an aqualung, and even common basketballs. Each of these works refer to the question of life and death but in ironic and sometimes chilling ways. For example, two of Koons's sculptures from 1985 entitled Boat, a simple life raft, and Aqualung, a diver's tank, are both devices intended to preserve and protect life from the potentially deadly perils of water, yet they are constructed of heavy bronze as if to deny the object's original function as lifesaver and instead offer a reminder of our mortality. His Equilibrium series, which defined his first one-man show, held at a small gallery in Manhattan in 1985, made use of ordinary basketballs (inflated) suspended in water-filled glass flotation tanks; behind these Koons displayed authentic posters depicting famous basketball players advertising sports equipment. These works have also been interpreted in the context of the life process - as the thematic coupling of air and water has been likened to "breath or amniotic fluid." The inclusion of the famous basketball players in the advertisement might be analogous to the artist's own quest to cheat death by achieving, like these athletes, immortality via everlasting fame and recognition as an artist. Such fame came to Koons in 1986 when his work was discovered by the art dealer Ileana Sonnabend, who helped Koons gain exposure on an international scale.

Self-Promotion of Art Criticized

Koons's elevation of kitsch and the appropriation of tacky images and objects culled from popular culture contributed to his unexpected and swift rise to the top of the art world. It also contributed to the often scathing critical responses that made Koons so controversial. Moreover, it is seemingly his unabashed, but highly successful, personal promotion skills - used to facilitate the proliferation of both his art and his reputation - that called into question his integrity as an artist. For example, in 1992 Koons took the unprecedented step of not only brashly mounting a retrospective for an artist so young, but of making his work in duplicate so he was able to stage retrospectives simultaneously in two different cities and to participate in more than 75 exhibitions in more than 15 countries between 1986 and 1993. For this reason many in the art world felt that Koons was nothing more than an exhibitionist and shock artist.

Despite Koons's denial that he intentionally sought to provoke or shock, both his life and work grew increasingly scandalous and publicized. In 1991 Koons made international headlines when he married "Cicciolina" (Ilona Staller), a former pornographic film star and member of the Italian parliament who was fond of shocking her legislative colleagues by periodically baring her breasts in public. Not surprisingly, she was to play an important role in the controversial works of art Koons created between 1990 and 1992, which made up a good portion of Koons's retrospectives. These works, done in a wide variety of media including sculpture, photography, and painting, depicted the married couple in various stages of sexual intimacy ranging from "soft" pornography to "hard-core" images of penetration often blown up to monumental proportions like the countless billboards that line the streets and highways of America. Critics deemed him the "princeling of kitsch" after his 1993 mixed-media sculptures and wall pieces debuted.

In 1992, however, Koons and Staller filed for divorce, and he remained in New York City. In 1995, an Italian judge acquitted the artist on charges that he had threatened his wife and abducted their son when he took the baby from Staller's Italian home in 1993 because the baby was a resident of New York. After a protracted legal battle, custody of their son, Ludwig Maximilian, was awarded to Staller.

Further Reading

American Visions: The Epic History of Art in America by Robert Hughes (1997) reviews Koons' work. More has been written about Jeff Koons than perhaps any other artist of his generation yet no major monograph on the artist had been published into the 1990s. The pages of journals, magazines, newspapers, and various museum catalogues are the primary sources for information on the artist. One particularly good catalogue is Michael Danhoff, Jeff Koons, Museum of Contemporary Art, Chicago (1988). An important article published by David Littlejohn in Art News was entitled "Who is Jeff Koons and Why Are People Saying Such Terrible Things about Him?" (April 1993).

Wikipedia: Jeff Koons
Top
Home > Library > Miscellaneous > Wikipedia
Koons at the 2009 Tribeca Film Festival.

Jeff Koons (born January 21, 1955) is an American artist known for his giant reproductions of banal objects such as balloon animals produced in stainless steel with mirror finish surfaces, often brightly colored. Koons' work has sold for substantial sums including at least one world record auction price for a work by a living artist. Critics are sharply divided in their views of Koons. Some view his work as pioneering and of major art-historical importance. Others dismiss his work as kitsch: crass and based on cynical self-merchandising. Koons himself has stated that there are no hidden meanings in his works.

Contents

Life and art

Early life and work

Rabbit in Naples, Italy, 2003

Koons was born in York, Pennsylvania and as a child he went door to door after school selling gift-wrapping paper and candy to earn pocket-money.[1] As a teenager he revered Salvador Dalí, to the extent that he visited him at the St. Regis Hotel in New York City. Koons studied painting at the School of the Art Institute of Chicago and the Maryland Institute College of Art. After college, he worked as a Wall Street commodities broker while establishing himself as an artist. He gained recognition in the 1980s and subsequently set up a factory-like studio in a SoHo loft on the corner of Houston and Broadway in New York. It was staffed with over 30 assistants, each assigned to a different aspect of producing his work—in a similar mode as Andy Warhol's Factory.[2]

Koons's early work was in the form of conceptual sculpture, an example of which is Three Ball 50/50 Tank (1985), consisting of three basket balls floating in distilled water that half-fills a glass tank.

Arts journalist Arifa Akbar reported for The Independent that in “an era when artists were not regarded as ‘stars’, Koons went to great lengths to cultivate his public persona by employing an image consultant." Featuring photographs by Matt Chedgey, Koons placed "advertisements in international art magazines of himself surrounded by the trappings of success” and gave interviews “referring to himself in the third person.”[3]

Koons then moved on to Statuary, the large stainless-steel blowups of toys, followed by the Banality series that culminated in 1988 with Michael Jackson and Bubbles, a series of three life-size gold-leaf plated porcelain statues of the sitting singer cuddling Bubbles, his pet chimpanzee. Three years later, one of these sold at Sotheby's New York for $5.6 million and now is in the permanent collection of the San Francisco Museum of Modern Art. The statue was included in a 2004 retrospective at the Astrup Fearnley Museum of Modern Art in Oslo which traveled a year later to the Helsinki City Art Museum. It also featured in his second retrospective at the Museum of Contemporary Art, Chicago, in 2008.

Relationships

Koons and his college girlfriend had a daughter together who was given up for adoption: now named Shannon Rodgers, she reconnected with Koons in 1995.

In 1991, he married italian-born naturalized-Italian pornography star Cicciolina (Ilona Staller) who for five years (1987–1992) pursued an alternate career as a member of the Italian parliament. His Made in Heaven series of paintings, photographs, and sculptures portrayed the couple in explicit sexual positions and created even more controversy.

In 1992, they had a son, Ludwig. The marriage ended soon afterward. They agreed to joint custody of the child, but Staller absconded from New York to Rome with the child, where mother and son remain. A long custody battle ensued with the award of sole custody to Koons by the U.S. court in 1998, which had also dissolved the marriage. However, he ended up losing custody when the case went to Italy's Supreme Court.[4]

In 2008, Staller filed suit against Koons for failing to pay child support.[5]

Koons is now married to Jusine Wheeler, an artist and former employee who began working for Koons' studio in 1995.[6]

Puppy 1992

Puppy in Bilbao
Tulips in Bilbao

Koons was commissioned in 1992 to create a piece for an art exhibition in Bad Arolsen, Germany. The result was Puppy, a forty-three feet (12.4 m) tall topiary sculpture of a West Highland White Terrier puppy, executed in a variety of flowers on a steel substructure. In 1995, the sculpture was dismantled and re-erected at the Museum of Contemporary Art on Sydney Harbour on a new, more permanent, stainless steel armature with an internal irrigation system.

The piece was purchased in 1997 by the Solomon R. Guggenheim Foundation and installed on the terrace outside the Guggenheim Museum Bilbao.[7] Before the dedication at the museum, an Euskadi Ta Askatasuna (ETA) trio disguised as gardeners attempted to plant explosive-filled flowerpots near the sculpture, [8] but was foiled by Basque police officer Jose María Aguirre, who then was shot dead by ETA members.[9][10] Currently the square in which the statue is placed bears the name of Aguirre. In the summer of 2000, the statue travelled to New York City for a temporary exhibition at Rockefeller Center.

Media mogul Peter Brant and his wife, model Stephanie Seymour, have an exact Jeff Koons duplicate of the Bilbao statue on the grounds of their Connecticut estate.

In 1999, Koons commissioned a song about himself on Momus' album Stars Forever.

Recent work

In 2001, Koons undertook a series of paintings titled Easyfun-Ethereal, using a collage approach that combined bikinis (with the bodies removed), food, and landscapes painted under his supervision by assistants.

In 2006, he appeared on Artstar, an unscripted television series set in the New York art world and from February 15 to March 6, 2008, he donated a private tour of his studio to the Hereditary Disease Foundation for auction on www.charitybuzz.com.

In 2006, Koons showed his Hanging Heart, a 9 feet tall highly polished, steel heart, one of a series of five differently colored examples, part of his Celebration series. [11] Large sculptures from that series were exhibited at the Metropolitan Museum of Art in New York in 2008.

Detail of Kiepenkerl in the collection of the Hirshhorn Museum and Sculpture Garden

A drawing similar to his Tulip Balloons was placed on the front page of the Internet search engine Google. The drawing greeted all who visited Google's main page on April 30, 2008 and May 1, 2008.[12]

Cracked Egg (Blue) won the 2008 Charles Wollaston Award for the most distinguished work in the Royal Academy's Summer Exhibition.[13]

Considered as his first retrospective in France, the 2008 exhibition of seventeen Koons sculptures at the Chateau de Versailles also marked the first ambitious display of a contemporary American artist organized by the chateau. The New York Times reported that “several dozen people demonstrated outside the palace gates” in a protest arranged by a little-known, right-wing group dedicated to French artistic purity.[14]

Koons had a minor role in the 2008 film Milk playing state assemblyman Art Agnos.[15]

The May 31 – September 21, 2008 Koons retrospective at the Museum of Contemporary Art, Chicago,[16][17][18] which was widely publicized in the press, broke the museum's attendance record with 86,584 visitors.[19][20] In July 2009, Koons had his first major solo show in London, at the Serpentine Gallery. Entitled, "Jeff Koons: Popeye Series," the exhibit included cast aluminum models of children’s pool toys and "dense, realist paintings of Popeye holding his can of spinach or smoking his pipe, a red lobster looming over his head." [21]

Art prices

Koons' works have sold for astronomical prices at auctions and privately. In 2001, one of his three Michael Jackson and Bubbles porcelain sculptures sold for $5.6 million. On November 14, 2007, a magenta Hanging Heart, one of five in different colors, sold at Sotheby's New York for $23.6 million becoming, at the time, the most expensive piece by a living artist ever auctioned. [22] It was bought by the Gagosian Gallery in New York, which the previous day had purchased another Koons sculpture entitled "Diamond (Blue)" for $11.8 million from Christie's London. [23] Gagosian appears to have bought both Celebration series works on behalf of Ukrainian steel oligarch, Victor Pinchuk.[24] In July 2008, his Balloon Flower (Magenta) also sold at Christie's London for a record $25.7 million. During the late 2000s recession, however, art prices plummeted and a violet Hanging Heart sold for $11 million in a private sale. [25] However prices for the artist's earlier Luxury and Degradation series appear to be holding up. The Economist reported that Thomas H. Lee, a private-equity investor, sold “Jim Beam J.B. Turner Train” in a package deal brokered by Giraud Pissarro Segalot for more than $15 million.[26]

Classification

Among curators and art collectors and others in the art world, Koons's work is labeled as Neo-pop or Post-Pop as part of an 80s movement in reaction to the pared-down art of Minimalism and Conceptualism in the previous decade. Koons resists such comments: "A viewer might at first see irony in my work... but I see none at all. Irony causes too much critical contemplation."[citation needed] Koon's crucial point is to reject any hidden meaning in his artwork. The meaning is only what one perceives at first glance; there is no gap between what the work is in itself and what is perceived.[citation needed]

He has caused controversy by the elevation of unashamed kitsch into the high art arena, exploiting more throwaway subjects than, for example, Warhol's soup cans. His work Balloon Dog (1994-2000) is based on balloons twisted into shape to make a toy dog.

His sculpture differs in two major respects to the original:

  1. it is made of metal (painted bright red to give the appearance of balloons),
  2. it is more than ten feet (three metres) tall.

Evaluation and Influence

Koons has received extreme reactions to his work. Critic Amy Dempsey described his Balloon Dog as "an awesome presence... a massive durable monument."[27] Jerry Saltz at artnet.com enthused that it was possible to be "wowed by the technical virtuosity and eye-popping visual blast" of Koons's art.[28]

Mark Stevens of The New Republic dismissed him as a "decadent artist [who] lacks the imaginative will to do more than trivialize and italicise his themes and the tradition in which he works... He is another of those who serve the tacky rich."[29] Michael Kimmelman of The New York Times saw "one last, pathetic gasp of the sort of self-promoting hype and sensationalism that characterized the worst of the 1980s" and called Koons's work "artificial," "cheap" and "unabashedly cynical."[30]

In an article comparing the contemporary art scene with show business, renowned critic Robert Hughes wrote that Koons is “an extreme and self-satisfied manifestation of the sanctimony that attaches to big bucks. Koons really does think he's Michelangelo and is not shy to say so. The significant thing is that there are collectors, especially in America, who believe it. He has the slimy assurance, the gross patter about transcendence through art, of a blow-dried Baptist selling swamp acres in Florida. And the result is that you can't imagine America's singularly depraved culture without him.”[31] Hughes placed Koons's work just above that of Seward Johnson and was quoted in a New York Times article as having stated that comparing their careers was "like debating the merits of dog excrement versus cat excrement -- although Mr. Hughes would never use a word as flat and unevocative as excrement." [32]

To the question - “Is it important that your work be famous?” - Koons replied: "There’s a difference between being famous and being significant. I’m interested in [my work's] significance — anything that can enrich our lives and make them vaster — but I’m really not interested in the idea of fame for fame’s sake."[23]

He has influenced younger artists such as Damien Hirst[33] (e.g. in Hirst's Hymn, an eighteen-foot version of a fourteen-inch anatomical toy), and Mona Hatoum.[citation needed] In turn, his extreme enlargement of mundane objects owes a debt to Claes Oldenburg and Coosje van Bruggen.[citation needed] Much of his work also was influenced by artists working in Chicago during his study at the Art Institute, including Jim Nutt, Ed Paschke, and H. C. Westermann.[34]

In 2005, he was elected as a Fellow to the American Academy of Arts and Sciences.

Copyright infringement litigation

Koons has been sued several times for copyright infringement over his use of pre-existing images, the original works of others, in his work. In Rogers v. Koons, 960 F.2d 301 (2d Cir. 1992), the U.S. Court of Appeals for the Second Circuit upheld a judgment against him for his use of a photograph of puppies as the basis for a sculpture, String of Puppies.[35]

Koons also lost lawsuits in United Features Syndicate, Inc. v. Koons, 817 F. Supp. 370 (S.D.N.Y. 1993), and Campbell v. Koons, No. 91 Civ. 6055, 1993 WL 97381 (S.D.N.Y. Apr. 1, 1993).

More recently, he won one lawsuit, Blanch v. Koons, No. 03 Civ. 8026 (LLS), S.D.N.Y., Nov. 1 2005 (slip op.),[36] affirmed by the Second Circuit in October, 2006, brought over his use of a photographic advertisement as source material for legs and feet in a painting, Niagara (2000). The court ruled that Koons had sufficiently transformed the original advertisement so as to qualify as a fair use of the original image.

Sources

Print

Primary sources

Secondary sources

Online

References

  1. ^ Gayford, Martin. "Selling Candy to the Masses: Koons talks about sex, pleasure and future works", Apollo, 2008-03-01. Retrieved on 2009-06-09.
  2. ^ Akbar, Arifa. 'Koons Most Expensive Living Artist at Auction' in The Independent (London), Nov 16 2007. Cf. Online sources
  3. ^ Quotations cited in Akbar, Arifa. 'Koons Most Expensive Living Artist at Auction'. Cf. Online sources
  4. ^ cityfile.com (2009-11-25). "Jeff Koons". cityfile.com. http://cityfile.com/profiles/jeff-koons. Retrieved 2009-11-25. 
  5. ^ Tod Hunter (2008-03-27). "Cicciolina Sues Ex-Husband Koons for Child Support". xbiz.com. http://xbiz.com/news/91852. Retrieved 2008-03-27. 
  6. ^ Tim Teeman (2009-06-13). "Cicciolina Sues Ex-From Popeye to puppies: Jeff Koons explains his love of outrageous art". Times Online. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article6485414.ece. Retrieved 2009-11-25. 
  7. ^ http://www.elcorreodigital.com/vizcaya/20071014/vizcaya/corazon-puppy-20071014.html
  8. ^ terror attack at gugg bilbao
  9. ^ http://www.elmundo.es/1997/10/14/espana/14N0020.html
  10. ^ http://www.elpais.com/articulo/espana/PAiS_VASCO/VIZCAYA/BILBAO_/MUNICIPIO/ERNE_/SINDICATO_DE_LA_ERTZAINTZA/MUSEO_GUGGENHEIM/ETA/sindicato/policial/dice/personas/antecedentes/trabajaban/Guggenheim/elpepiesp/19971021elpepinac_21/Tes/
  11. ^ JEFF KOON'S HANGING HEART SETS RECORD AT AUCTION, Culturekiosque, Nov. 15, 2007
  12. ^ April 30 is Queen's Day in the Netherlands.
  13. ^ Wollaston Award Announcement [1]
  14. ^ Sciolino, Elaine, 'At the Court of the Sun King, Some All-American Art' in The New York Times, September 10 2008 [2]
  15. ^ http://www.mediabistro.com/unbeige/people/jeff_koons_makes_a_surprising_turn_as_an_actor_in_milk_102635.asp
  16. ^ Freudenheim, Tom L. (2008-08-30). "A Tarnished Jeff Koons". The Wall Street Journal. http://online.wsj.com/article/SB122003984801984161.html. Retrieved 2009-09-16. 
  17. ^ Schjeldahl, Peter (2008-06-09). "Funhouse: A Jeff Koons retrospective". The New Yorker. http://www.newyorker.com/arts/critics/artworld/2008/06/09/080609craw_artworld_schjeldahl. Retrieved 2009-09-16. 
  18. ^ Hester, Jessica (2008-06-03). "Kitsch master Koons unveils MCA retrospective: Jeff Koons has had a long, colorful career. The MCA has rightly decided to shine a light on the unconventional artist's works". The Chicago Maroon. http://www.chicagomaroon.com/2008/6/3/kitsch-master-koons-unveils-mca-retrospective. Retrieved 2009-09-16. 
  19. ^ Conrad, Marissa (December 2008). "The Innovator". Chicago Social (Chicago, Illinois): 140. 
  20. ^ "Jeff Koons". Museum of Contemporary Art, Chicago. http://www.mcachicago.org/exhibitions/exh_detail.php?id=178. Retrieved 2009-01-13. 
  21. ^ Carol Vogel, Koons and a Sailor Man in London , New York Times, July 2, 2009.
  22. ^ JEFF KOON'S HANGING HEART SETS RECORD AT AUCTION, Culturekiosque, Nov. 15, 2007
  23. ^ a b Ayers, Robert (April 25, 2008), Jeff Koons, ARTINFO, http://www.artinfo.com/news/story/27454/jeff-koons/, retrieved 2008-05-14 
  24. ^ http://www.theartnewspaper.com/article.asp?id=8471 Sarah Thornton "Recipe for a Record Price" The Art Newspaper
  25. ^ Carol Vogel, 'More Artworks Sell in Private in Slowdown', New York Times, Apr. 26, 2009.
  26. ^ "Crossing to safety: New York's uneven contemporary art sales" http://www.economist.com/opinion/displayStory.cfm?story_id=13682122
  27. ^ Dempsey, Amy (ed.). Styles, Schools and Movements, Thames & Hudson, 2002.
  28. ^ Saltz, Jerry, 'Breathing Lessons' - Magazine Features - artnet.com
  29. ^ Stevens, Mark. 'Adventures in the Skin Trade' in The New Republic. January 20, 1992.
  30. ^ Kimmelman, Michael. 'Jeff Koons' in The New York Times. November 29, 1991.
  31. ^ Hughes, Robert. ‘Showbiz and the Art World’ in The Guardian, Wednesday, June 30, 2004.
  32. ^ http://query.nytimes.com/gst/fullpage.html?res=980CE1DD1030F931A25753C1A9609C8B63&sec=&spon=&pagewanted=1
  33. ^ Akbar, Arifa. 'Koons Most Expensive Living Artist at Auction'.
  34. ^ MCA Chicago, Everything's Here: Jeff Koons and His Experience of Chicago, http://www.mcachicago.org/exhibitions/exh_detail.php?id=200, retrieved 2008-08-06 
  35. ^ http://jerryandmartha.com/yourdailyart/images/koons2.jpg
  36. ^ http://www.cll.com/articles/article.cfm?articleid=239#1

Film and video

  • Jeff Koons: the Banality Work by Jeff Koons, Paul Tschinkel, Sarah Berry. Videorecording produced by Inner Tube Video and Sonnabend Gallery (New York, NY), 1990.
  • His Balloon Dog (Red) sculpture was one of the artworks brought to life in Night at the Museum: Battle of the Smithsonian.

Also see

External links

Search Wikiquote Wikiquote has a collection of quotations related to: Jeff Koons
Search Wikimedia Commons Wikimedia Commons has media related to: Jeff Koons

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

 
 

 

Copyrights:

Art Encyclopedia. The Concise Grove Dictionary of Art. Copyright © 2002 by Oxford University Press, Inc.. All rights reserved.  Read more
Biography. © 2006 through a partnership of Answers Corporation. All rights reserved.  Read more
Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Jeff Koons".  Read more