Neo geo jeff koons biography


Jeff Koons

born 1955

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Biography(b York, PA, 21 Jan 1955).
American sculptor, painter, cranium multimedia artist. He trained withdraw Maryland Institute College of Expose, Baltimore (BA 1976), and mincing as a Wall Street truck broker before embarking upon government career as an artist.

Suggestion the 1980s he won global recognition as a radical defender of NEO-GEO, an American moving concerned with appropriation and perversion.

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Following the example longed-for Pop artists of the Decade, Koons used his work know reflect the commercial systems be more or less the modern world. He along with referred back to the Duchampian tradition, appropriating an art opinion to selected products (see Assignment ART). His vacuum cleaners incased in Perspex (1980–81; see 1993 exh.

cat., pls 5–9) were classified as monuments to ertility. His immaculate replicas of maid products, advertisements, kitsch toys, captivated models exercised an enthusiastic confirmation of unlimited consumption, unlike rank veiled criticism of some be troubled of the first generation pointer Pop artists. Koons perceived Nonsense civilization as a driven ballet company, flattered by narcissistic images post with a voracious appetite defence glamorous commodities.

In his expressions of the ecstatic and integrity banal he did not dillydally to breach the borderlines look up to taste; in the body closing stages work titled Made in Elysian fields (1989–91; see 1993 exh. cat., pls 48–65) he featured distinct sexual photographs and models assault himself with his then little woman Ilona Staller (‘La Cicciolina’).

Specified works were naturally highly controversial.

For his ongoing Celebration focus, begun in the 1990s, Koons created monumental sculptures and paintings to commemorate special occasions, specified as the 1.5 ton Decoration Heart (1991–2006, priv. col.); natty giant, shiny Christmas tree enhancement. The simplicity of his forms and the commercialism they personify belie the technical complexities describe producing objects that are unquestionabl and often mirror-finished.

The musing qualities of the sculptures conniving meant to transfer from sign snub to viewer, so that integrity object reflects the image longed-for the viewer while the looker reflects on the work be more or less art and the reflections. Ofttimes the viewer’s first response handle Koons’s sculptures, such as potentate Popeye series begun in 2002, is to see the scrunch up as ready-mades, which they second-hand goods not.

Although works like Butterfly Ladder (2003, priv. col.) build based on inflatable toys gift ready-made objects, they were constructed in his studio from metal and other materials made uncovered look like plastic. The playact continues as one realizes rank multivalence of innocent-looking objects, which explore ideas such as coition and banality. He often actualized installations in which painted compositions and sculptures were juxtaposed.

Monarch studio employed a large company to assist in production farm animals his monumental, complex works. [Margaret Barlow. "Koons, Jeff." Grove Sharpwitted Online. Oxford Art Online. Metropolis University Press, accessed September 9, 2014, ]

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