An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Exhibition view: Jeff Koons: At The Ashmolean, The Ashmolean Museum, Oxford (7 February–9 June 2019). Courtesy of Ashmolean. Photo: David Fisher.
Jeff Koons is back. The American artist and art commerce kingpin has just opened his latest show at Oxford's Ashmolean, the world's oldest public museum. Seventeen significant works – 14 of which make their first appearance on UK soil – span the artist's career and radically distinctive oeuvre including Equilibrium, Antiquity and Gazing Ball in a show curated by Koons himself and his long-term friend and collaborator, Sir Norman Rosenthal.
Jeff Koons is an American contemporary artist whose works often reference popular culture and are characterised by an interest in the banal and readymade.
Koons received his BFA at the Maryland Institute College of Art in Baltimore and studied at the School of the Art Institute of Chicago before moving to New York, his current city of residence. During the late 1970s, Koons worked as a student assistant for the artist Ed Paschke, whom is cited along with Salvador Dali, Man Ray and Duchamp as early influencers upon the artist’s practice. In the 1980s, Koons worked as a commodities broker, later explaining this move as a way to finance his artistic career before returning to being a full-time artist.
During the 1980s, Koons rose to prominence as part of a group of artists who came to be associated with the term Neo-Geo. The group is often discussed in the context of the art world’s critique of a media-saturated and consumer-influenced culture and the commodification of the art object. Other artists included Ashley Bickerton and Peter Halley.
Working predominantly in series, Koons creates works in a number of mediums ranging from photography to sculpture, often using readymade objects or objects that appear to be readymade. Early work included The New (1979–1987), a series of branded and mounted vacuum cleaners. When they were first exhibited in the window of the New Museum in New York in 1980, they were arranged in cabinets and displayed as if in a showroom. The works were oriented around a central red fluorescent lightbox, which had the words ‘The New’ written on it, as if referencing a new brand. Subsequent series included Easyfun Ethereal (2001), which included multi-media collages of images of bikinis, lips, eyes, cars, food and landscapes. Koons drew from the visual language of advertising to make the familiar yet unrelated images communicate to his audience.
His sculpture Acrobat (2003–2009) exemplifies Koon’s often deceptive riff on the concept of Marcel Duchamp’s readymade. The work is a large lobster, vertically balanced upside down on its claws between an upturned bin and a chair. It immediately appears to be an inflatable plastic pool toy, due to the realistic paint detail and naturalistic crinkling around its edges. The work is in fact made from stainless steel and is exceptionally heavy.
The artist is perhaps best known for his large-scale public sculptures. An example is Puppy (1992), a giant 13-metre sculpture created using live flowers and depicting a West Highland Terrier. The work references the topiary garden style that dates back to Roman times, when bushes were trimmed to resemble statues of animals. In 1995, the work was erected at Darling Harbour, Sydney at the Museum of Contemporary Art Australia, and in 1997, the Solomon R. Guggenheim Foundation purchased the work and relocated it to the exterior of the Guggenheim Museum Bilbao. At the inauguration of the Bilbao that same year, Spanish police intercepted a terrorist plan to blow up the Puppy sculpture. The men, disguised as gardeners, planned to install detonating flowerpots into the work.
Works such as Puppy are highly technical, taking several months to create. In addition to flowers grown offsite, a 3D computer model was used to construct the stainless steel framework of the work. Hand-moulded wire mesh lined with soil was then placed on the frame, along with an internal irrigation system. The irrigation system ensures the work is kept blossoming and allows it to continue growing. Its creation is due both in part to Koons’ conceptual premise and the manpower of his studio assistants. Koons currently employs 148 people in his studio to assist with his projects. Although Koons began by making his own sculptures and paintings, he now employs people so that he is not limited by the time taken to make his works. This time gives him the freedom to edit his works, increase his productivity and control the process of each work.
Organized by seminal conceptual artist Joseph Kosuth, 'Dot, Point, Period,' a Curated Installation by Joseph Kosuth covers every square foot of wall at the Castelli Gallery's 40th Street space. A selection of artworks by over 40 artists are dispersed within a continuous string of short texts. This string of text, in a three-inch typeface, follows...
To enter Marcus Jahmal's Bushwick home and studio, I squeeze past a giant canvas leaning against the hallway stairs—a sunset through an open window, stratified like sand art in a vase, its horizon pulled apart into infinite variations, infinite color. The home studio is stuffed with work, evidence of the restless energy with which he...
All that remained were 48 hats. 48 hats and 48 coats. 48 hats and 48 coats and 48 pairs of shoes. They lay, folded, in six lines of eight, the discarded wear of 48 absent men or the uniform of a single man, repeated some 48 times.
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