Extended through August 18, 2017
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.
Gagosian is pleased to present an exhibition of recent and new work by Jeff Koons.
Making use of conceptual constructs including the ancient, the everyday, and the sublime, Koons creates luxurious icons and elaborate tableaux, which, beneath their captivating exteriors, engage the viewer in a metaphysical dialogue with cultural history.
Koons draws attention to the continuity of images as they pass through time. The Gazing Ball series is grounded in distinctive narratives and art-historical precedents—from ancient classical sculpture to Rubens and Manet. In each work, a blue mirrored, hand-blown glass gazing ball—a convention from eighteenth-century garden design—reflects its surroundings, uniting painting, sculpture, and architecture in order to multiply sensory experience. Balanced on the shoulder of Hercules, or introducing a dose of the surreal to the suburban harmony of a row of mailboxes, each gazing ball reactivates and intensifies familiar scenes, whether from legend or the everyday.
The Celebration sculptures—as well as later works that expand upon their visual dialogue—made with mirror-polished stainless steel coated in layers of transparent color, epitomize Koons’s ongoing fascination with childlike consciousness and communication. Sacred Heart (Blue/Magenta) (1994–2007) magnifies the excitement of receiving a lavishly wrapped gift, and Balloon Rabbit (Magenta) (2005–10) transforms a balloon animal into a towering wonder of reflective curves. Mirror-polished voids swell to a giant scale, their converging twists and contours drawing the gaze toward multiple vanishing points. The sculptures conflate the readymade and the monumental, transforming humble objects into abstract symbols of transcendence and the biological, reflecting and affirming viewers and their environments.
In Ballerinas (2010–14), from the Antiquity series, Koons depicts figurines of dancers, derived from decorative porcelain, at the imposing scale of classical sculpture. Their delicate details and subtle color gradations, rendered in luminous, transparent color, present—somewhat paradoxically—as lessons in immaterial abstraction.
Laws of Motion
Catalyzed by Laws of Motion—a group exhibition pairing artworks from the 1980s on by Jeff Koons, Cady Noland, Rosemarie Trockel, and Jeff Wall with contemporary sculptures by Josh Kline and Anicka Yi—Wyatt Allgeier discusses the convergences and divergences in these artists’ practices with an eye to the economic worlds from which they spring.
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.
TEFAF Online New York 2020
November 1–4, 2020
Gagosian is pleased to participate in TEFAF Online New York 2020 with a special presentation of Cherubs (1991) by Jeff Koons.
A wall sculpture in polychromed wood, Cherubs forms a key part of Koons’s renowned Made in Heaven series (1989–91) and merges his investigation of kitsch aesthetics and commodity culture with a veneration of Baroque craftsmanship—it was carved by artisans from the Bavarian village of Oberammergau. Making reference to the Rococo visions of Jean-Honoré Fragonard and François Boucher, and evoking the cavorting figures of Cupid or Eros, Cherubs combines the religious and the sensual, bringing divergent conceptions of taste and value into confrontation with one another.
Jeff Koons, Cherubs, 1991 © Jeff Koons. Photo: Rob McKeever