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A catalog documenting an exhibition at Gagosian Gallery, New York, in 2013. It includes several bodies of recent work, including Antiquity paintings, Venus sculptures, and work from the renowned Hulk Elvis and Celebration series, the latter of which Koons has been working on for twenty years. With sources as diverse as children’s art, comic-book characters, and figures from classical antiquity, Koons continues to draw a common thread through cultural history, creating works that attempt to touch the core of the human psyche. Working through conceptual constructs including the new, the banal, and the sublime, he has taken his work from its literal, deadpan beginnings in ready-mades to baroque creations that extol innocence, beauty, sexuality, and happiness in confounding combinations of abstraction, figuration, sumptuous effect, and pure spectacle.In the newest series of work, the Antiquity (2009–13) series, the paintings pulse with complex layerings of image, reference, and chromatic nuance as Koons explores the historical oscillation of form in painting and sculpture. Two outsized Venus sculptures in mirror-polished stainless steel are the first sculptures to be completed in this series; one is Koons’ interpretation of one of the world’s earliest known sculptures, the Venus of Willendorf. The book includes 39 full-color plates, as well as installation photos and a fully illustrated index.
Hailed by Peter Schjeldahl in The New Yorker as “the most original, controversial, and expensive American artist of the past three and a half decades,” Jeff Koons has come to reign as a master of the market, a wry puppeteer with a “formidable aesthetic intelligence.” His elaborate, exquisitely produced sculptures draw from a contemporary lexicon of consumerism—often featuring large-scale reproductions of toys, household items, or luxury goods—while simultaneously holding up a mirror to the very culture from which they are extracted. These references to popular media are evidenced not merely in his choice of subject matter but also in his visual techniques: his sculptures frequently comprise smooth, mirrored surfaces, and his paintings employ bright and saturated colors. Jeff Koons: Gazing Ball—the first catalogue on the artist’s work to be published by David Zwirner—was produced on the occasion of the major 2013 exhibition at the gallery in New York, which marked the world debut of his Gazing Ball series, a brand new body of work that occupies an important place in the trajectory of his practice. Conceptually derived from the mirrored ornaments encountered on many suburban lawns, including those of Koons’s childhood hometown in rural Pennsylvania, every sculpture is anchored by a blue “gazing ball” of hand-blown glass. These are situated atop large, white-plaster sculptures that have been alternately modeled after iconic works from the Greco-Roman era, including the Farnese Hercules and the Esquiline Venus, or after such quotidian objects from the contemporary residential landscape as a rustic mailbox, a birdbath, and an inflatable garden snowman. Created in close collaboration with Koons, this elegant publication echoes the classic design of a 1970 Picasso catalogue that the artist admires. Inside, vivid color plates of the sculptures in situ capture the stark contrast between the pristine whiteness of the plaster and the highly reflective spheres. In their perfect contours and smooth, glistening surfaces, the gazing balls implicate audience as well as context—mirroring both and offering playful yet powerful meditations on the dialogue between gaze and reflection. “While all of the sculptures are grounded in their own distinct narratives, derived from Art History and suburban towns,” writes Francesco Bonami in his catalogue essay, “the seemingly fragile and delicate gazing ball establishes that sense of uncertain equilibrium that exists between history and fantasy, magic and materiality, mass culture and exclusive beauty.”
The God-centered prayers of beloved pastor and author John MacArthur are profound and moving. They inspire believers to come to the Father--the Lord God Almighty--with their praises, thanksgiving, and requests. Dennis Frates's stunning landscape photography is a beautiful testimony to this same God, the God of all creation. In picture and words, the reader is drawn into the full worship experience. Whether given, received, or purchased for personal use, this select collection of Scripture readings and heartfelt prayers encourage the reader to approach God's throne of grace...and receive His blessing.
Lavishly illustrated with archival images and beautiful photography, Versailles: From Louis XIV to Jeff Koons features insightful texts by Catherine Pégard, president of the Château de Versailles, with the collaboration of Mathieu da Vinha, scientific director of the Château de Versailles Research Center, revealing all the stories that have unfolded within this glorious monument.
With over 200 illustrations of iconic works as well as preparatory studies and historic photographs, this book offers fresh insight into Koons’s polarizing and influential career.
Koons by himself: the new definitive overview, featuring the artist's commentary on his works and career This handsomely designed volume brings together more than 60 of the artist's most iconic sculptures and paintings along with new productions and recently completed works. Edited by curator Masimilliano Gioni, the book focuses in particular on Koons' art as seen in relation to contemporary American culture. With an aesthetics of abundance remaining a constant throughout his career, Koons has composed a "fantasy America ... custom-made from art and schmaltz and emotions"--to use Warhol's description of his own interpretation of American culture. Through the inclusion of source materials, personal recollections and biographical narratives by Koons himself, the book reads each of Koons' celebrated series through the prism of his biography and the ways in which his individual history intersects with that of his country and culture. The publication composes an unconventional view of Jeff Koons and his work, retracing the personal influences and cultural histories that have shaped Koons' art. Published to accompany a major exhibition in Qatar, the catalog features an interview with Koons by the exhibition's curator along with essays by Armenian American art critic Dodie Kazanjian and Qatari American writer and artist Sophia Al Maria. Jeff Koons(born 1955) is best known for his work that engages with pop culture in dynamic and unexpected ways, such as his famous large-scale stainless steel sculptures of balloon animals. His work has been exhibited worldwide since his career took off in the 1980s and his pieces frequently break auction sales records.
"In Jeff Koons's One Ball Total Equilibrium Tank (1985), a Spalding basketball floats in the centre of a glass tank that rests on a simple black metal stand. The work presents what Koons called 'the penultimate state of being' - neither death nor life, but a suspended state of rest. It has been called one of the defining works of the 1980s, but was also described as 'an endgame', 'misleading' and part of a 'repulsive' practice"--Jacket.
The definitive survey of Jeff Koons’s Hulk Elvis paintings, including an extensive interview with the artist in his studio. From the outset of his controversial career, Jeff Koons turned the traditional notion of the work of art and its context inside out. Focusing on unexpected yet banal objects as models for his work, he eschewed typical standards of "good taste" in art, instead embracing what he perceives as conventional middle-class values in order to expose the vulnerabilities of aesthetic hierarchies and value systems. Koons’s declared strategies are to make art beautiful, to strive for objectivity, to give back the familiar, and to reflect, and thus empower, the viewer. The works of Koons’s series Hulk Elvis burst with energy and precision yet mystify with their complex permutations and combinations of figurative and abstract elements. A charged mix of inflatable monkeys, geishas, birds, the Incredible Hulk, and the Liberty Bell jostle against realistically rendered landscapes, gestural paintings, steam engines and horse-drawn carriages, negative silhouettes, and underlying dot screens.