At this very moment many young artists are endlessly scrolling through the job listings on New York Foundation for the Arts hoping to find anything that slightly resembles a paying job. Then it suddenly appears, a job listing by no other than Jeff Koons. I’ve always wondered why someone would ever want to work in Koon’s factory. Unless you have an undying love for painting photorealistic lobsters or would like to become an expert in polishing balloon dogs, what’s the point?
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Visual puns don’t get much better than this. A little red dog balloon sculpture by the simultaneously celebrated and reviled artist Jeff Koons has finally gotten what it deserves. Damaged and missing a few limbs, it sits on a silver platter like the head of John the Baptist waiting to become the punch line for a joke. But this work is not the product of some overeager Columbia MFA student. It’s actually a total accident. And for the record, it’s no longer worth big bucks because of its damage. A totally worthless Koons?
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New York billionaire Ron Perelman is filing for “divorce” from his art mentor/dealer Larry Gagosian and the two A-listers are battling over three art works worth over $25 million.
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Koons was on Colbert last night and his discussion of art came across as pseudo-spiritual at best.
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There are important questions that art world thinkers have asked themselves for decades. Why should art be confined to the white cube? When does something become art? How do you define art? These are important questions to ask, but I am going to ignore them for this photo essay on dog art. Are these beautiful canine specimens works of art? Maybe not, but that doesn’t mean that we at Hyperallergic love them any less.
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Talk about art going big: the New York Times reported last night that the Whitney will mount an enormous Jeff Koons retrospective as its last hurrah in the Breuer building, before moving downtown in 2015. Probably out of necessity as much as for flair, the exhibition will take over the entire museum except for the fifth-floor permanent galleries — the first time the Whitney has given over that much space to one artist.
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Upstairs from “Larry,” in the Carlyle Galleries Building at 980 Madison Avenue, Adam Lindemann’s latest art toy, Venus over Manhattan, was unveiled to the press Wednesday morning.
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With plans in the offing for Jeff Koons’s astounding “Train” to dangle preposterously over the heedless noggins of visitors to the High Line, it might just be a good time to polish up your talking points regarding the greatest of all kitsch artists.
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I can’t say I wasn’t charmed by Marble Sculpture from 350 B.C. to Last Week’s title, though it’s a tad overblown. And I was pleasantly surprised by the almost gauche clutter I encountered on the gallery’s routinely Spartan first floor, with thirty-one midsize-to-extra-large artworks from wildly different historical periods crowded together like refugees from an intergalactic conflict.
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Now you don’t even have to be a part of the 1% to make art enthusiasts with strong opinions wild with fury this holiday season — just buy them the scale model of Jeff Koon’s flashy car.
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