Jeff Koons s evaluation and influence, Jeff Koons s introduction

Koons's work received an extreme response. Critic Amy Dempsey described his balloon dog as "a terrible being....A monument of magnitude and durability. Jerry Saltz says Koons's art is "virtuosity and eye-popping visual impact."

Mark Stevens fired him in The New Republic magazine for being a "decadent artist who lacked imagination, more vulgar, emphasizing only the themes of his work and his habits,...He is another form of serving money. Michael Kimmelman of the New York Times said, "The last breath of self-pyramid schemes, the worst grandstanding of the '80s," and called Koons' work "hypocritical," "cheap," and "cheeky cynical."

In an essay on the relationship between contemporary art and commercial entertainment, the renowned critic Robert Hughes commented that Koons was "an expression of extreme self-confidence that links hypocritical piety to money." Koons really felt like he was Michelangelo and wasn't at all shy about it. The most important thing is that they all believe in him, especially those who are collectors in the United States.

Koons has a guarantee of mud resources, through the general model of transcending art, trading air-dried marshes in Florida. At the end of the day, you simply can't imagine America's decadent culture without him. Koons's work is only above Seward Johnson's status in Hughes' view, quoting a New York Times article comparing their careers as "like comparing dog poop with cat shit."

In response to questions like, "Is it important whether your work is famous?" "There's a difference between being famous and being important, and I'm more interested in the meaning of my work, which enriches our lives and makes them stronger, but I'm really not interested in the idea of being famous," Koons said.

He influenced a group of young artists such as Damien Hirst (e.g., Hearst's Anthem, an 18-foot (m) version with an anatomical toy of a m) and Mona Hatoum. However, Koons's extremely secular amplification of the object owes Claes Oldenburg and Coosje Bruggen in turn. Many of his works have also influenced artists working in Chicago, as well as Jim Nutt, Ed Paschke, and H., who studied at his art college

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In 2005, he was elected a Fellow of the American Academy of Arts and Sciences.

Looking at Jason White's works, I personally think it's no worse than Jeff Koons.

Jeff Koons was born in 1955 in York, Pennsylvania. A graduate of the Maryland Institute of Art and the School of the Art Institute of Chicago, Koons lives and works in New York City. Koons rose to fame for his public sculptures, such as the giant floral sculpture Puppy (1992).

Jeff Koons is a well-known contemporary American pop artist. Jeff Koons' stainless steel sculpture "The Hanging Heart" sold for more than $26 million in New York, setting a new record for a living artist, and he became the most valuable living artist at auction. Koons has been famous since the 1980s, once, in the 1970s, when neo-expressionist art was prevalent, Koons was a completely unacceptable outlier, the market response to his works was very cold, in order to continue his artistic career, Koons went to Wall Street as a ** agent, it was this period of business career that made him unforgettable for life, since then, he has maintained a shrewd mind of a business person and a sensitivity to money exuded from the blood.

Over the past 30 years, Jeff Koons has created more than 20 series and tens of thousands of works, and he has been overturning himself almost every year and re-entering new contexts and creative forms.

1985 was the year of Jeff Koons' breakthrough when he held exhibitions in East Village in New York.

This exhibit features replicas of basketballs, lifeboats, and more placed in liquid. Even though Jeff Koons was seriously questioned in the 80s, today's critics are very affirmative of Jeff Koons's place in the history of art, arguing that he mastered the irrepressible consumer fetish of affluent societies from the 80s onwards.

In the traditional consciousness of the world, artists are supposed to be a group of people who "treat money like dung", but this concept has been completely subverted since Damien Hirst and Jeff Koons. Among the living contemporary artists in the West, the most expensive is Damien Hearst, and the equally famous Jeff Koons is known for his vulgarity and nobility. Jeff Koons' impressive works include vacuum cleaners in glass covers, hovering basketballs in aquariums, gilded celebrity figurines, stainless steel or ceramic gadgets, and more.

The 55-year-old Jeff Koons is also a source of "inspiration" and an important object of imitation for Chinese contemporary artists.

Now, Koons seems to have turned away from being an artist of too much purity, and in the past few months he has even branched out from the multiple roles of collector and curator — last summer, he accepted an invitation from a new museum of modern art to organize an exhibition of the major collection of Greek billionaire Daakisjoannou, who plays an unusually important role in Koons's collection. Koons and Joannou are both trustees of the new museum, and it can be a bit of a sentimentality to negotiate contracts for the contemporary art world, which he has tried to avoid in recent years. But since he decided to pursue collecting and curating, he wanted to prove his depth, and he declared that his strategy was to make art beautiful, objective, and intimate, and to be able to interact with the viewer and empower it.

He once again created a public buzz and entered the spotlight.

Although judging by the auction**, the market rose to prominence in 1999. However, in the past 10 years, Koons has steadily stepped out of the highly academic route under the impetus of mature and professional agents, and he has firmly occupied an indisputable position in the history of contemporary art long before the arrival of the auction era, and his works have been collected by almost all internationally renowned modern art museums and art institutions, and the accumulation of rich academic foundation is also the most powerful for Jeff Koons in the stage of rapid development of the contemporary art market in the 21st century.

As early as the 80s of the 20th century, Jeff Koons participated in the "Whitney Biennial", and it was also during this period that his works were first collected by the San Francisco Museum of Modern Art; Since then, Jeff Koons has participated in a series of important exhibitions at the Royal College of Art in London, the Guggenheim Museum, the Metropolitan Museum of Art, the Tate Gallery and the Serpentine Gallery, all of which are leading discourses on contemporary art. In 2009, the "Jeff Koons Solo Exhibition" was exhibited at the antique Palace of Versailles, where modern works were set against the old royal palace, adding a sense of strangeness to the audience, and was highly acclaimed and was named one of the most popular exhibitions of 2009. At the same time, Jeff Koons's works have been continuously collected by many modern and contemporary art museums and art institutions in the United States and the United Kingdom.

Through a never-ending exhibition campaign and an ever-increasing institutional collection, Jeff Koons has firmly established an irreplaceable place in the history of art.

In some exhibitions, Jeff Koons is always compared to Andy Warhol, and many people believe that Jeff Koons largely inherited Andy Warhol's identity as a commercial artist, pushing pop art to the extreme. However, Koons said, "I'm not a commercial artist, and I don't think Andy Warhol is either.

It doesn't matter whether he is a commercial artist or not, what matters is whether the concept is sharp and avant-garde, whether the expression is pure and accurate, and whether the attitude is sincere and direct. Extreme earnestness and extreme enthusiasm for marketing are perhaps the most expensive of contemporary artists.