Jeff Koons – The Artist and the Art of Others – NYTimes.com
Even by the standards of the art world, where language about art strays easily into deep and enigmatic waters, Mr. Koons's way of explaining his own work is hard to take seriously, though he has always seemed to take it that way. With an ever-present warm smile and the comforting tones of a guidance counselor, he has spoken about how art “lets you kind of control physiology and the secretions that take place within the body,” how his art operates in “a morality theater trying to help the underdog,” how his balloon-based sculptures, at least sexually speaking, “really try to address whatever your interests are.” In a profile of Mr. Koons in The New Yorker in 2007 Calvin Tomkins observed that “it is possible to argue that no real connection exists between Koons's work and what he says about it.”
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From Randy Kennedy’s article: “While the New Museum runs a greater risk to its reputation if the show is poorly received, Mr. Koons has a lot riding on it too, not least because he wants to do well by the institution, which gave him his first solo exhibition in 1980, and by Mr. Joannou, whose collection is influential and widely admired.” That is just nuts–false drama, at the very least. What will happen if the show is crappy is nothing. People will keep going to the New Museum, buying Koonses, and attending Joannou’s parties. Koons’ art rap is always a hoot, though.
From Randy Kennedy’s article: “While the New Museum runs a greater risk to its reputation if the show is poorly received, Mr. Koons has a lot riding on it too, not least because he wants to do well by the institution, which gave him his first solo exhibition in 1980, and by Mr. Joannou, whose collection is influential and widely admired.” That is just nuts–false drama, at the very least. What will happen if the show is crappy is nothing. People will keep going to the New Museum, buying Koonses, and attending Joannou’s parties. Koons’ art rap is always a hoot, though.
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