杰夫·昆斯
ДЖЕФФ КУНС
ג’ף קונס
ジェフ·クーンズ
제프 쿤스

metallic venus

source: 图中为部分展品。
杰夫·昆斯，1955年出生于美国宾夕法尼亚州，21岁时毕业于马里兰艺术学院。移居纽约后迫于生计，在纽约当代艺术馆做推销员工作，被经纪人Mary Boone发掘，后转到Annina Nosei画廊旗下做展览。期间曾在华尔街股市做证券经纪人，一直等到1985年，昆斯才真正崛起。昆斯有30多位技术员实现他设计的艺术雕塑。
“其作品往往由及其单调的东西堆砌而成——比如不锈钢骨架、镜面加工过的气球兽，常常染以明亮的色彩。昆斯的作品在世界上大卖，持有至少一个在世艺术家作品的拍卖价格记录。评论家对他的看法趋于两级。有的认为他的作品是先锋的，有着重要的艺术史价值。有的认为那是在媚俗——哗众取宠，建立在全然利己的自我推销之上。”
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source: pintura3josanblogspot
JEFF KOONS
El contacto con el mundo del arte le viene a través de su familia paterna, puesto que su padre tenía una tienda de muebles. Ese hecho dice que fue su primera experiencia estética. La Venus de Willendorf es una inspiración constante en su obra, pues le parece la esencia de la historia del arte, que antes de llegar a la universidad no conocía.
Con el término Kitch se refiere a un tipo de arte que la sociedad no comprende. Los hombres se sienten por encima de este arte y emplean el término como despectivo. En su obra están presente el sentimiento de la culpa y la vergüenza: Pantera rosa y Bañera: representan la masturbación de las mujeres. Ambas esculturas creadas en porcelana, material que le parece muy sexual.
Hecho en el cielo: Esta obra tiene mucha relación con el cuerpo, el desnudo. Intentó hacer algo muy barroco. Con esta obra quiere representar la eternidad con su esposa de aquel momento.
La celebración: Conjunto de obras que están relacionadas con el secuestro de su hijo. En esta obra quiere ser optimista. “perro globo”. Esta obra además quiere representar un caballo de Troya, puesto que no se sabe lo que hay dentro.
Sus cuadros son realizados a partir de collages digitales, donde superpone cuerpos con diferentes imágenes y después son llevados al cuadro por su grupo de trabajo, formado por diferentes personas.
Opinión Personal: Como vemos, este tipo de arte está muy relacionado con Hollywood, el espectáculo, con Andy Warhol… América. Se trata de un arte muy exquisito el cual cuida bastante los entornos. Como vemos, el artista crea el concepto y la idea principal, y seguramente también los bocetos, pero la obra material está realizada por su equipo de trabajo. Esto nos puede sorprender pero todo el que conozca la historia del arte conoce que los antiguos maestros también han sido ayudados por los miembros de su taller.
Desde mi punto de vista, las obras de Jeff Koon me parecen un poco sintéticas y plastificadas, alejadas de la “humanidad”. Un arte frío que también transmite, pero que al menos a mi, me hacen sentir externo a la obra de arte, lejos de sentirme identificado con ella.
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source: phototopicru
Джефф Кунс американский художник, скульптор и просто креативщик. Джефф обожает эксперименты и китч, и скорее даже не над своими произведениями, а над реакцией зрителей. Именно это и принесло ему мировую известность. Его работы высоко ценятся и входят в число дорогих произведений современного искусства.
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source: giocoleriaorg
Jeff Koons (York, 21 gennaio 1955) è un artista statunitense. È famoso per le sue opere, spesso di grandi dimensioni che si ispirano allo stile kitsch. Spesso, per la sua capacità di esprimersi attraverso l’utilizzo di un ampia gamma di tecniche viene paragonato ad Andy Warhol. E per la cronaca è anche ex marito di Cicciolina.
Diverte sempre (1955) Jeff Koons che colloca un fiore realizzato “piegando” un palloncino d’acciaio blu. Balloon Flower è l’esempio perfetto di quanto l’artista statunitense riesca a trasformare – con maniacale attenzione al dettaglio – l’iconografia popolare in mitologia.
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source: blogliberoit
Jeff Koons ha ancora la faccia da bambino e non ha perso l’abitudine di giocare. Anzi, ci invita tutti a prendere confidenza con i suoi incredibili palloni da basket, coniglietti, orsacchiotti, aragoste e grandi cuori scintillanti realizzati in alluminio e acciaio inossidabile rivestiti di gomma.
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source: zip-magazine
By Katja Schmolka
Jeff Koons is high society’s favored artist. With his abstract balloon animals, cast in mirror-polished stainless steel, he has left a lasting imprint on the art world. – His works are either loved or denounced as kitsch, but one thing is certain: he is the most highly remunerated artist of our time, and his powerful influence has been known to stir up the art world on occasion. Jeff Koons is big enough to be simultaneously staging shows at two of New York City’s most renowned and rivaling galleries: “Gazing Ball,” his first New York solo exhibition in five years, at David Zwirner, and “New Paintings and Sculpture” at Gagosian (both through 29 June). Of course, the two exhibitions focus on different subjects. It remains unclear why Jeff Koons eventually decided against presenting his new sculptures, which are inspired by Ancient Rome and Greece, at Gagosian. Rumor has it he preferred the rooms at Zwirner, which are filled with natural light. Then again, nobody really knows.
Mount Olympus
The plaster casts of Ancient Greek and Roman statues look rather heroic. Height is definitely a central theme of this exhibition. Just as the ancient Romans and Greeks looked up to their gods, so does, apparently, America’s most successful artist Jeff Koons. Hercules, god of health and oracles and patron of gymnasia, measures an amazing 128 1/2 by 66 15/16 by 48 5/8 inches, and the surrealistic snowman reaches a similarly dizzying height. The rooms of the Zwirner gallery are the perfect backdrop for this abundance of power and grandeur.
It is impressive how, upon entering the room, the statues’ authenticity immediately captivates the eye. Folds draped around the hips, wreaths of leaves, female and male forms sculpted so realistically they seem to come alive any moment. At a second glance, something unexpected appears: a round blue shape. An object that at first does not seem to fit into the picture at all. It is a handblown midnight blue ball with a metallic shine, resting on a different spot on each statue. The spectator is mesmerized by this banality, which in the combination of this setup shows real genius. Jeff Koons comments on his new works as follows: “I’ve thought about the gazing ball for decades. I’ve wanted to show the affirmation, generosity, sense of place, and joy of the senses that the gazing ball symbolizes. The Gazing Ball series is based in transcendence. The realization of one’s mortality is abstract thought and from there, one is able to have a concept of the external world, one’s family, community, and a vaster dialogue with human kind beyond the present. The Gazing Ball series is based on the philosopher’s gaze, starting with transcendence through the senses, but directing one’s vision (the philosopher’s gaze) towards the eternal through pure form and ideas.” It is good to know that traditional handicraft still has a place in modern art, stirring up all kinds of emotions inside the intrigued spectator.
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source: biography
Born in York, Pennsylvania, on January 21, 1955, artist Jeff Koons made a name for himself by using everyday objects in special installations that touched on consumerism and the human experience. Some of his art has consisted of overtly sexual themes while others have been seen as a form of neo-kitsch, such as his balloon dogs. In 1988, he debuted a famous sculpture of Michael Jackson.
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source: gagosian
Jeff Koons was born in 1955 in York, Pennsylvania. He received his B.F.A. at the Maryland Institute College of Art in Baltimore and studied at the School of the Art Institute of Chicago. Since his emergence in the 1980s Jeff Koons has blended the concerns and methods of Pop, Conceptual, and appropriation art with craft-making and popular culture to create his own unique iconography, often controversial and always engaging. His work explores contemporary obsessions with sex and desire; race and gender; and celebrity, media, commerce, and fame. A self-proclaimed “idea man,” Koons hires artisans and technicians to make the actual works. For him, the hand of the artist is not the important issue: “Art is really just communication of something and the more archetypal it is, the more communicative it is.”
Jeff Koons’ artworks rarely inspire moderate responses, and this is one signal of the importance of his achievement. Focusing on some of the most unexpected objects as models for his work, Koons’ works eschew typical standards of “good taste” in art and zero in rather precisely on the vulnerabilities of hierarchies and value systems. As critic Christopher Knight has written “He turns the traditional cliché of the work of art inside out: Rather than embodying a spiritual or expressive essence of a highly individuated artist, art here is composed from a distinctly American set of conventional middle-class values.”
Since his first solo show in 1980, Koons’ work has been widely exhibited internationally in solo and group exhibitions. Recent solo shows include the Museo Archeologico Nazionale di Napoli (2003), the Astrup Fearnley Museum of Modern Art, Oslo (2004), which traveled to the Helsinki City Art Museum (2005); Museum of Contemporary Art, Chicago (2008); “Jeff Koons: Versailles,” château de Versailles, France (2008–09). In 2009 alone, Koons had four major solo exhibitions in public institutions: the Museum of Contemporary Art, Chicago; the rooftop of the Metropolitan Museum of Art, New York; the Neue Nationalgalerie, Berlin; and the Serpentine Gallery, London. Most recently, the Beyeler Foundation hosted Koons’s first solo exhibition in a Swiss museum. Exhibitions also opened last June in Frankfurt where Koons’s paintings were presented at Schirn Kunsthalle in Frankfurt while his sculptures were shown with works from the Liebieghaus Skulpturensammlung permanent collection. The Whitney plans a major retrospective of his work in 2014. Koons lives and works in New York City.