I like to think that when you leave the room, the art leaves the room. Art is about your own possibilities as a human being. It’s about your own excitement, your own potential, and what you can become. It affirms your existence.
Jeff Koons rose to prominence in the mid-1980s as part of a generation of artists exploring the meaning of art and spectacle in a media-saturated era. With his stated artistic intention to “communicate with the masses,” Koons makes use of conceptual constructs—including the ancient, the everyday, and the sublime—creating luxurious icons and elaborate tableaux, which, beneath their captivating exteriors, engage the viewer in a metaphysical dialogue with cultural history.
Born in York, Pennsylvania in 1955, Koons studied at the School of the Art Institute of Chicago and the Maryland Institute College of Art in Baltimore and, receiving a BFA from the latter in 1976. Since his first solo exhibition in 1980, his work has evolved from small-scale assemblages of toys and found objects to his now iconic monumental works, including huge balloon animals rendered in mirror-polished stainless steel, as well as flowering topiary sculptures, such as Puppy (1992), which is permanently installed at the Guggenheim Museum Bilbao.
Koons draws attention to the continuity of images as they pass through time, combining art historical reference with vernacular images and objects, from common suburban products and mass media to symbols of sexuality and transcendence. Beginning with Inflatables (1978–79), a series inspired by the readymade, Koons created six series of innovative works in less than a decade including Pre-New (1979–80), The New (1980–87), Equilibrium (1983–93), Luxury & Degradation (1986), and Statuary (1986). His interest in popular culture expanded in the Banality series (1988), which included sculptures of recognizable figures such as Michael Jackson and Bubbles (1988)—a nearly life-size gold-leaf porcelain statue of the pop singer with his pet chimpanzee. In 1989, Koons presented Made in Heaven (1989–91), a series centered on him and his then-wife in sexually explicit poses, frequently in fairytale settings, evoking the stark bodily presence of the nudes depicted by French Realist painters.
During the mid-1990s, Koons expanded his Pop sensibility through the Celebration series (1994–): hyperrealistic, brightly colored paintings and large-scale sculptures depicting vernacular images and forms such as plastic figurines, Play-Doh, and jewelry. Conflating the readymade and the monumental, these works attest to Koons’s ongoing fascination with childlike consciousness and communication; transforming humble objects into abstract symbols of transcendence and the biological. In 2000, seven new works by Koons debuted at the Deutsche Guggenheim: the Easyfun-Ethereal paintings. Derived from the optimistic, colorful Easyfun series (1999–2000), these layered, collage-like tableaux depict cut-out photographs of packaged foods, paradisiacal landscapes, and fragments of women’s faces, limbs, hair, clothing, and accessories. Attesting to Koons’s interest in the simple pleasures of visual culture, Easyfun-Ethereal would eventually be expanded to twenty-four paintings, presenting uncanny, imaginative panoramas.
Koons’s dialogue with the readymade and American pop culture continued in his Popeye (2002–13) and Hulk Elvis series (2004–), which incorporate large-scale inflatable characters, either alone or combined with other objects and images, creating playful, often discordant relationships. Starting in 2008, the Antiquity series highlights Koons interest in metaphysics, a line of inquiry that was central to the making of the Equilibrium works and that continues to evolve in his latest works in production.
Among Koons’s recent works is the Gazing Ball series (2012–), in which he makes direct reference to canonical works art. In each piece, a blue mirrored, hand-blown glass gazing ball reflects its surroundings, uniting painting, sculpture, and architecture in order to multiply sensory experience. Like much of his work, the Gazing Ball series reactivates and intensifies familiar scenes, whether from legend or the everyday, reflecting and affirming viewers and their environments.
May 30–August 24, 2018
976 Madison Avenue, New York
March 10–April 21, 2018
555 West 24th Street, New York
Extended through August 18, 2017
April 27–August 18, 2017
Gazing Ball Paintings
November 9–December 23, 2015
West 21st Street, New York
November 6–December 20, 2014
Extended through September 18, 2014
June 25–September 18, 2014
Rockefeller Center, New York
New Paintings and Sculpture
May 9–June 29, 2013
555 West 24th Street, New York
December 7, 2012–February 14, 2013
Gagosian Quarterly Fall 2019
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Intimate Grandeur: Glenstone Museum
Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.
Visions of the Self: Jenny Saville on Rembrandt
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Jeff Koons: Easyfun-Ethereal
Learn more about Jeff Koons’s Easyfun-Ethereal series in this video featuring Rebecca Sternthal, one of the organizers behind the most recent exhibition of these works in New York.
The Bigger Picture
Derek Blasberg speaks with Diane Brown, president and founder of RxArt, and with contributing artists Dan Colen, Urs Fischer, and Jeff Koons about the transformative power of visual art.
The Bigger Picture
Jeff Koons speaks with Alison McDonald and Maura Harty about his longstanding commitment to protecting the rights of children.
Jeff Koons Glenn Fuhrman
The FLAG Art Foundation hosted a conversation between Jeff Koons and FLAG founder Glenn Fuhrman, in which the two discuss the dichotomy between sexuality and childhood innocence in Koons’s oeuvre, remaking Made in Heaven with Lady Gaga, what drives Koons to make more work, and several works including Cat on a Clothesline (1994–2001) and Winter Bears (1988).
The Last 36 Hours
Derek Blasberg speaks with Scott Rothkopf, a curator at the Whitney Museum of American Art, about the last thirty-six hours of the Jeff Koons retrospective, which also marked the end of the museum’s tenure in uptown Manhattan.
Split-Rocker: A Landscaping Perspective
Jeff Koons’s flowering sculpture Split-Rocker, at once imposing and adorable, has cast a spell on New York City’s Rockefeller Center. Derek Blasberg interviews Matt Donham, Koons’s landscape designer on the project, to find out more.
Jeff Koons: A Retrospective
Jeff Koons’s first, mammoth one-man show opens at the Whitney today, which is also the last show at the museum’s Madison Avenue location.
Thursday, March 5, 2020, 6:30pm
Gagosian, Britannia Street, London
Join Gagosian for a tour of the group exhibition American Pastoral. The show juxtaposes modern and contemporary works with historical American landscapes ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene, Gloucester Harbor (1926). Gagosian’s Alice Godwin will focus on a select grouping of exhibited works that seek to challenge the idealized vision of the American Dream that has long been a rich topic of inquiry for artists in the United States. To attend the free event, RSVP to firstname.lastname@example.org. Space is limited.
Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins
Art Basel Miami Beach 2019
December 5–8, 2019, booth D7
Miami Beach Convention Center
Gagosian is pleased to participate in Art Basel Miami Beach 2019 with modern and contemporary artworks by Richard Avedon, Georg Baselitz, Jean-Michel Basquiat, Joe Bradley, Cecily Brown, John Chamberlain, John Currin, Edmund de Waal, Rachel Feinstein, Urs Fischer, Helen Frankenthaler, Ellen Gallagher, Theaster Gates, Katharina Grosse, Mark Grotjahn, Jennifer Guidi, Simon Hantaï, Damien Hirst, Alex Israel and Bret Easton Ellis, Ellsworth Kelly, Jeff Koons, Roy Lichtenstein, Man Ray, Peter Marino, Adam McEwen, Joan Mitchell, Takashi Murakami, Albert Oehlen, Steven Parrino, Pablo Picasso, Rudolf Polanszky, Richard Prince, Sterling Ruby, Ed Ruscha, Richard Serra, Rudolf Stingel, Cy Twombly, Andy Warhol, Mary Weatherford, Tom Wesselmann, Jonas Wood, Christopher Wool, and Zao Wou-Ki, among others.
Tom Wesselmann, Sunset Nude with Wesselmann Still Life, 2004 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York
ART021 Shanghai 2019
November 9–10, 2019, booth C02
Shanghai Exhibition Center
Gagosian is pleased to participate in ART021 Shanghai 2019, presenting works by Urs Fischer, Helen Frankenthaler, Ellen Gallagher, Theaster Gates, Katharina Grosse, Simon Hantaï, Damien Hirst, Thomas Houseago, Robert Indiana, Jia Aili, Jeff Koons, Grant Levy-Lucero, Takashi Murakami, Nam June Paik, Ed Ruscha, Taryn Simon, Pierre Soulages, Rudolf Stingel, Sarah Sze, Mary Weatherford, and Tom Wesselmann, among others.
To receive a PDF with detailed information on the works, please contact the gallery at email@example.com.
Helen Frankenthaler, Eight in a Square, 1961 © 2019 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York
Closing this Week
Was wir Menschen anbeten
Through March 1, 2020
Kunsthalle Bremen, Germany
This exhibition, whose title translates to Icons: Worship and Adoration, presents a single masterpiece in each of the museum’s sixty galleries complemented by everyday icons—from consumer brands to icons of popular culture, offering an interpretation of the traditional notion of the icon in art juxtaposed with the proliferation of icons in everyday life. The presentation examines various aspects of spirituality, devotion, and adoration. Work by Francis Bacon, Andreas Gursky, Damien Hirst, Yves Klein, Jeff Koons, Bruce Nauman, and Andy Warhol is included.
Jeff Koons, Balloon Dog (Red), 1994–2000 © Jeff Koons
Through May 17, 2020
This exhibition presents contemporary art that draws inspiration from historic masterpieces. A selection of paintings, plaster sculptures, drawings, graphic prints, and applied arts from Nationalmuseum’s vast collections are displayed in dialogue with contemporary objects. Work by Glenn Brown, Jeff Koons, Jenny Saville, and Cindy Sherman is included.
POP Power from Warhol to Koons
Masterworks from the Collections of Jordan D. Schnitzer and His Family Foundation
Through March 8, 2020
Taubman Museum of Art, Roanoke, Virginia
POP Power celebrates a perennial movement that revels in the new and the now, the celebrity and the commodity, and art made accessible for the masses. Work by Damien Hirst, Jeff Koons, Roy Lichtenstein, Takashi Murakami, Richard Prince, and Andy Warhol is included.
Jeff Koons, Gazing Ball (da Vinci Mona Lisa), 2016, Jordan Schnitzer Family Foundation © Jeff Koons
Through July 5, 2020
NSU Art Museum, Fort Lauderdale, Florida
Happy! presents contemporary works produced by artists who aim to engage the viewer emotionally. In their works, as in life, sorrow and happiness are intertwined. The exhibition follows a multigenerational trajectory from the mid-twentieth century to today. Work by Jeff Koons, Takashi Murakami, Richard Prince, and Andy Warhol is included.
Takashi Murakami, Open Your Hands Wide, Embrace Happiness!, 2010 © 2010 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved