LOT DETAILS
Materials:
color lithographs, in four parts
Size Notes:
36 x 28
Description:
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Markings:
signed,dated'89and numbered22/50(lower right of each)
Exhibited:
Aarhus Kunstmuseum,Jeff Koons: Retrospective, 1993, pp. 113-114 (another example exhibited); London, Anthony d'Offay Gallery,Jeff Koons: A Survey 1981-1994, 1994(another example exhibited); Hanover, Sprengel Museum,Die Orte der Kunst: der Kunsbetrieb als Kunswerk, 1994 (another example exhibited); Porto,Fundao de Serralves,Arca de Noe, 1994-1995, pp. 78-81, illustrated in color (another example exhibited); Hamburger Kunsthalle,Family Values: American Art in the Eighties and Nineties: The Scharpff Collection at the Hamburger Kunsthalle, 1996, p. 53, illustrated in color (another example exhibited); Paris,Galerie Jrme de Noirmont,Jeff Koons, 1997, pp. 58-65, illustrated in color (another example exhibited); Athens,DESTEFoundation,Jeff Koons: A MillenniumCelebration, 1997, pp. 44-46, illustrated in color (another example exhibited); Kunsthaus Bielefeld,Jeff Koons: Pictures 1980-2002, 2002, pp. 23, 54-57, illustrated in color (another example exhibited); Athens, DESTE Foundation for Contemporary Art,Monument to Now, 2004-2005, pp. 214-215 (another example exhibited); Oslo, Astrup Fearnley Museum of Modern Art & Helsinki City Art Museum,Jeff Koons: Retrospective, 2004-2005, pp. 90-93, 146-157, illustrated in color (another example exhibited); Museum of Contemporary Art Chicago,Jeff Koons, 2008 (another example exhibited); Schirn Kunsthalle Frankfurt,TheMakingof Art: The Art World and its Players, 2009, p. 150, 153-157, illustrated in color (another example exhibited); Ottowa, National Gallery of Canada,Pop Life - Art in a Material World, 2010 (another example exhibited); Schirn Kunsthalle Frankfurt,Jeff Koons: The Painter, 2012, p. 72, illustrated in color (another example exhibited); Basel, Fondation Beyeler,Jeff Koons, 2012, pp. 77-81, illustrated in color (another example exhibited); New York, Whitney Museum of American Art; Paris, Centre Pompidou, Muse National d'Art Moderne; Guggenheim Museum Bilbao,Jeff Koons: A Retrospective, 2014-2015, no. 4, p. 23, 114, 116-17, 231, 287, illustrated in color (New York); pp. 13, 122-125, 241, illustrated in color (Paris); pp. 26, 118-121, 243 (Bilbao) (another example exhibited); Bordeaux, Frac Aquitaine,Loft Story, 2016 (another example exhibited); Stockholm, Konstakademien; Moderna MuseetMalm,Jeff Koons2016-2017 (another example exhibited); Washington, D.C., The Hirshhorn Museum and Sculpture Garden,Brand New: Art and Commodityin the 1980s, 2018, p. 95-97, illustrated in color (another example exhibited); Bologna, Palazzo Albergati,Warhol & Friends: New York negli anni '80, 2018-2019 (another example exhibited); Mexico City, Museo Jumex,Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons,2019,pp. 66, 134, 135, 140, 141 (another example exhibited); Stockholm, Nationalmuseum,1989 - Culture and Politics, 2019-2020 (another example exhibited); Lille, Palais des Beaux-Arts,Le Rve d'tre Artiste, 2019-2020 (another example exhibited); Brussels, ING Art Center,Hahaha: The Humour of Art, 2021-2022 (another example exhibited)
Literature:
Exh. Cat., New York, Whitney Museum of American Art,Image World, Art and Media Culture,1989, p. 75, illustrated in color; 'Jeff Koons e la Pubblicita di se stesso,'Flash Art News, no. 147, December 1988 - January 1989, p. 2, illustrated; Anthony Calnek, 'New York,'Contemporanea 2, no. 1, January-February 1989, p. 12, illustrated in color; Daniel Pinchbech, 'Jeff Koons,'Splash, April 1989, p. 69 (text); Stuart Morgan, Jutta Koether, David Salle and Sherrie Levine, 'Big Fun: Four Reactions to the New Jeff Koons,'Artscribe, March/April 1989, p. 46-47, illustrated in color; Richard Lacayo, 'Artist Jeff Koons Makes, and Earns, Giant Figures,'People Magazine31, no. 18, 8 May, 1989, p. 128, illustrated; Glenn O'Brien, 'Koons Ad Nauseum,'Parkett, no. 18, 1989, p. 64, illustrated; Nick Jenkins, 'Mr. Koons,'Tatler, November 1989, p. 147, illustrated in color; Mark Stevens, 'The Shock of the Faux,'Vanity Fair52, no. 12, December 1989, p. 114, illustrated; Exh. Cat., Durham, Duke University Museum of Art,Fractured Fairy Tales: Art in the Age of Categorical Disintegration,1989, pp. 64, 72 and 90, illustrated; Andrew Renton, 'Super Star,'Blitz Magazine (London), no. 85, January 1990, p. 52, illustrated in color; Eleanor Heartney, Judith Russi Kirschner, Anne Rorimer and James Yood,The Refco Collection, Chicago, 1990, p. 90, illustrated in color; Exh. Cat.,New York, Museum of Modern Art,High and Low: Modern Art and Popular Culture, 1990, pp. 395-296 (text); 'Pop Art,'The New Paper, 11 May 1990, p. 23, illustrated in color; Sarah Morris, 'Jeff Koons,'Galeries Magazine,May 1990, pp. 127, 129, 132, 133, illustrated in color; Jon Spayde, 'Artist or Adman?',Continental Profiles 3,no. 12, December 1990, p. 42 (text); Robert Enright, 'The Material Boy and the Femme Fidele,'Border Crossings10, no. 1, Winter 1990-1991), p. 36, illustrated in color; Daniel Pinchbeck, 'Kitsch and Tell,'Connoisseur221, no. 958, November 1991, p. 24, 125 (text); Sylvere Lotringer, 'Third Wave: Art and the Commodification of Theory,'Flash Art, May-June, 1991, p. 93, illustrated in color; Hanz Werner Holzwarth ed.,Jeff Koons, New York, 2007, pp. 255, 257-259, illustrated in color; Matthew Taylor ed.,Jeff Koons: Conversations with Norman Rosenthal, London, 2014, pp. 30, 264, 278, 292, illustrated in color; Fred Fehlau, Anne Friedberg, Michael Lassell, David Robbins,Hollywood, Hollywood: Identity Under the Guise of Celebrity,Pasadena, 1992, p. 45, illustrated in color; Albig Jorg-Uwe, 'Jeff Koons, ein Prophet der inneren Leere,'Art Das Kunstmagazine, December 1992, no. 12; Jeff Koons and Robert Rosenblum,The Jeff Koons Handbook, London, 1992, pp. 92-95, illustrated in color; Stuart Morgan, Deep and Low: Madonnas Sex and The Jeff Koons Handbook reviewed by Stuart Morgan,??Frieze, issue 8, January/February 1993, p. 43, illustrated; Horst Valer, 'Kunst der totalen Banalitat,'Das Magazin(Berlin), April 1993, p. 54, illustrated in color; Exh. Cat., Ludwigshafen,Wilhelm-Hack-Museum,Zeitsprnge,Kunstlerische Positionen der 80er Jahre: Sammlung Rudolf und Ute Scharpff,1993, p. 52-55, illustrated in color; Exh. Cat., Philadelphia, Institute of Contemporary Art,Face Off: The Portrait in Recent Art,1994, p. 17, illustrated in color; Exh. Cat., Toulouse, Galerie Municipale du Chateau dEau,Autoportraits, 1997, p. 31, illustrated in color; Nicolas Bourriaud, Jeff Koons Ingenieur du desir,'Beaux Arts,September 1997, p. 46, illustrated in color; France Huser, 'Jeff Koons: L'Irrvrencieux,'L'Officiel,November 1997, no. 80, p. 157, illustrated in color; Exh. Cat., Kunstmuseum Wolfsburg,Gesammelte Werke 1 Zeitgenssische Kunst seit 1968, 1999, p. 273; Robert Rosenblum,On Modern American Art: Selected Essays,New York, 1999, p. 333, illustrated; Marco Senaldi, American Beauty,?? Flash Art International (Milan) 38, no. 240, April-May 2000, p. 87, illustrated in color; David Bjelajac, American Art: A Cultural History, London, 2000, p. 391, illustrated in color; Exh. Cat., Cologne, Kunsthaus Bregenz, Jeff Koons: Kunthaus Bregenz, p. 16, illustrated; Barry Hoffman, The Greatest Degeneration,?? The Fine Art of Advertising, 2002, p. 134, illustrated in color; Exh. Cat., Naples, Museum Archeologico Nazionale Napoli, Jeff Koons, 2003, p. 73-77, illustrated in color; Katy Siegel, Jeff Koons Talks to Katy Siegel,?? Artforum, March 2003, p. 252-253, 283, illustrated in color; Alessandra Mammi, Dalla Staller alle stele,?? Lespresso, no. 23, 5 June 2003, p. 126, illustrated; Jonathan Heaf, Blow Up,?? POP, no. 8, Spring/Summer 2004, p. 321 (text); Exh. Cat., Istanbul, Istanbul Museum of Art, Center of Gravity, 2005, p. 182, illustrated in color; Richard Lacayo, How Does 80s Art Look Now??? TIME 165, no. 13, March 2005, p. 59; Kelly Devine Thomas, 'The Selling of Jeff Koons,' ARTnews 104, no. 5, May 2005, p. 119, illustrated in color; Ute Grosenick and Raimar Stange, eds., International Art Galleries: Post-War to Post-Millennium, Cologne, 2005, p. 17, illustrated in color; Exh. Cat., Paris, Collections de Saint Cyprien. Nous Nous Sommes Tant Aims, 2006, pp. 57, 63, 76, illustrated in color; Emanuelle Lequeux 'Self made mythe' in 'Jeff Koons: Versailles,' Beaux Arts ditions, September 2008, p. 5, illustrated in color; Jonathan Shaughnessy, 'Sex Sells. Art, Publicity and Pop Life,' Vernissage: The Magazine of the National Gallery 12, no. 12, Spring 2010, p. 19, illustrated in color; Brad Finger and Christiane Weidemann, 50 Contemporary Artists You Should Know, Munich, 2011, p. 69 (text); Exh. Cat., Sydney, Art Gallery of New South Wales., John Kaldor Family Collection, 2011, pp. 197, 206, 208-9, 338; Hans-Joachim Muller, 'Es war einmal... (Once Upon a Time...)' Monopol: Special Jeff Koons, Berlin, 2012, p. 21; Alison M. Gingeras, 'Instant Classic', Artforum 52, no. 1, September 2013, p. 145; Joachim Pissarro, Jeff Koons, Brussels, 2013, pp. 7, 11; Exh. Cat., Berlin, Galerie Max Hetzler, Remember Everything 40 Years Galerie Max Hetzler, p. 116, illustrated in color; Peter Schjeldahl, 'Selling Points,' The New Yorker, 7 -14, July 2014, p. 93; Jeff Koons, 'Scan to Koonsume,' Garage Magazine, Fall/Winter 2014, pp. 86-89, illustrated in color; Manami Fujimori, 'Jeff Koons,'Art Techo, vol. 66, no. 1012, October 2014, pp. 5, 70, illustrated in color; Hans Werner Holzwarth, ed.,Koons, Cologne, 2015, p. 43, illustrated in color; Exh. Cat., Paris, Centre Pompidou,Jeff Koons: La Rtrospective Le Portfolio de L'Exposition/The Retrospective The Portfolio of The Exhibition, 2015, pp. 72-75, illustrated in color; Exh. Cat., Stockholm,Nationalmuseum, Moderna Museet, Royal Academy of Fine Arts,Konstnren: The Artist,2016, pp. 40-41, illustrated in color; Robert Storr,Interviews on Art,London, 2017, p. 392, illustrated in color; Exh. Cat., Oslo, Astrup Fearnley Museet,Jeff Koons: Works from the Astrup Fearnley Collection, 2018, pp. 6, 14, 31, 33, 35, 37, illustrated in color; Massimiliano Gioni and Natalie Bell,Jeff Koons: 2000 Words,Athens, 2019, pp. 68-71, illustrated in color; Martine Aubrey,Le rve d'tre artiste, Lille, 2019, p. 145, illustrated in color; Luis C. Lopez Morton Z., ??Esposicion,??,Apariencia Desnuda,14 June 2019, p. 145, illustrated in color; Luis C. Lopez Morton Z.,' Rubell Museum,' El universal (Mexico), 10 January 2020 (online); Letizia Dannery, 'The cutting edge of contemporary art,' L'Express, 12 January 2020 (online); Ann-Marie Perl, 'A more public arena: Jeff Koons Reinvention in the Midst of Reaganism,' Association for Art History, June 2020, p. 494-495, illustrated in color (color ill. pp. 494, 495); Exh. Cat., Venice, Palazzo Strozzi, Jeff Koons. Shine. 2021 p. 175; Caroline Goldstein, 'Jerry Saltz Once Called Artforum Ads 'the Porn of the Art World.' A New Show Brings Together Some of the BestSee Them Here,' Artnet News, January 18, 2022, illustrated in color (online)
Provenance:
Daniel Weinberg Gallery, New York; Acquired from the above in March 1990 by the present owner