Table of contentsKitsch KoonsCelebrated childhood and adulthood, Rosenquist's thoughts on Jeff KoonsConclusionThe Luxury & Degradation series, 1986 features oil inks on canvas prints of beverage advertisements alcoholic. In all this there is the presence of free time, sexual conquest, excess, wealth or the suggestion of wealth. The works Luxury & Degradation most closely resemble the work of Jeff Koons' friend Richard Prince. Richard Prince took photos of photographs that somehow stole publicity images, even though Koons had obtained permission to use all the images. Alongside the advertisements for alcoholic beverages are real, banal objects of opulence, to be used or acquired through the consumption of alcohol, such as a bar set or the Jim Beam – JB Turner Train, 1986, all cast in stainless steel. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essayKitsch KoonsStatuary, 1986 continues with the use of the material of stainless steel, producing a collection of sculptures made in different styles such as Koons' favorite. Barococo and souvenir kitsch. One of the sculptures is a caricature of actor Bob Hope, titled Bob Hope, 1986, rendered in the manner of street artists caricaturing the streets of Paris or New York, with an exaggeratedly sized head and dwarf body. Also featured are the Mermaid Troll, 1986 and the Cape Codder Troll, 1986, which can be described as boldly hideous and shocking in this sumptuously pristine stainless steel. In the Journal of Contemporary Art interview with Jeff Koons by Klaus Ottman, 1986, Koons is quoted: The basic story is that of art leaving the realm of the artist, when the artist loses control of the work. It is essentially defined by two ends. One would be Louis would find Bob Hope – who said if you give art to the masses. , art will become a reflection of the mass ego and also decorative. The entire work is structured around statues representing different periods of Western European art. Each work in the exhibition is coded to be more or less specific about the use of art as a symbol or representation of a certain theme taking place in art, such as Doctor's Delight, a symbol of sexuality in art; Two children, morality in art; Rabbit, fantasy in art. The Italian woman would be the symbol of the artist in search of beauty; Flowers are said to be an art used to show the elegance and strength of money; Louis XIV is power, symbol of the use of art as an authoritarian means; Trolls, symbol of mythology. In Banality, 1988, we observe a change in materials towards porcelain or polychrome wood. The concept is one of kitsch and triviality. Stuffed animals and teddy bears materialize in the variety of those in amusement parks and arcade recreational machines in which one uses a mechanical arm to grasp one, cast in extraordinary porcelain. Works such as Bear and Policemen, 1988 illustrate the rather mundane feeling of British police officers in uniform, with their iconic helmet standing side by side with the silhouette of a man costumed as a bear. Some suggest that Koon's fascination with commodification was about to shift focus from the inanimate object to the focus of living beings. In an article in the Stanford Undergraduate Research Journal, written by SusanCameron's Classical Modern Irreverence: Jeff Koons' Michael Jackson and Bubbles Recontextualized compares Jackson's positioning to that of Dionysus of the Eastern Parthenon as well as that of Praxiteles' Hermes. with Baby Dionysus. The King of Pop is associated with the King of Drama because both possess effeminate qualities. Described by Mrs Cameron as vulgar, denoting the Latin definition of the word meaning the people. Vulgar is also defined as lacking distinction, aesthetic value, or charm, commonplace. Beyond life size and completed by the signature of the porcelain artisan responsible for creating the work, the work suggests the strange artist and his strangely eccentric tastes. The works Naked, 1988, Serpents, 1988, St. John the Baptist, 1988 are located in the writings of Ms. Cottingham, which I quote: In the late 1980s, Koons turned his interest toward the hypercommodification of exclusively inanimate objects . A 1988 sculpture depicting two nude Caucasian children marked a turning point that would inspire the artist's production over the next five years. Koons described Naked as follows: “The young boy and the young girl are like Adam and Eve, too standing on a flowery heart. » The piece was first exhibited with twenty kitsch-inspired sculptures, including others with biblical references such as serpents and Naked John the Baptist evoking the Judean determination to subjugate women, made consistent in myth of Adam and Eve. In Genesis, the male pre-exists the female and, in fact, the female is a parasite created from the rib of the male. Genesis is also the primary Western text establishing that woman is evil: Eve is the original heretic, liar, and sinner, and because of her disobedience, all of her wives deserve and will receive punishment. After Eve ate a piece of (forbidden) fruit, “God said to the woman: “You will bear children in intense pain and suffering; but even so, you will welcome your husband’s affections, and he will be your master.” Genesis attributes responsibility for its oppression to women, designates it as heterosexual, dictates reproductive relations as the normative sex, and designates man as the legitimate master of woman. Koons' Naked, as a "faithful" illustration of Judaism and Christianity, depicts two Caucasian children genitally naked as male and female, as inscriptions of whiteness and heterosexuality. The “sentimentality,” of which Koons is conscious, is a fantasy of innocence romanticized according to the mythical prerequisites of Europatriarchy. The series Made in Heaven, 1989-1991 is based on photographic representations and sculptures in various materials by the artist Jeff Koons. and his first wife, pornographic actress and singer Ilona Staller aka Cicciolina (which translates from Italian as Hugs), in various sexual acts. They are placed on a faux-nature setting that is a representation of the Garden of Eden while Koons plays the role of Adam and Staller plays the role of Eve. On the Made in Heaven billboard, Koons and Staller are arranged in an embrace and Koons looks out at the audience from the billboard. Staller is costumed in a manner typical of herself, a truly ingenious and kitsch representation of a sex siren. The iconic flower garland is placed on her platinum blonde head and Staller wears her blood-red lipstick on her wide mouth. Ilona Staller worked for several years to compose her character before her union with Jeff Koons and is apparently a perfect muse for the artist, since she was photographed surrounded by stuffed animals and flowers. Koons described Cicciolina's overt sexuality and exhibitionism as virginal and pure. However, Koons presents a picture of the superiority ofthe union between man and woman and appears as the master of this woman, his wife being placed in a minor position in the composition of the photograph entitled Made in Heaven, 1989. What is suggested in these works is found l The subsequent exploitation of Ilona Staller and her career's work, although Koons himself assumes the guise of a porn actor. Made in Heaven is a series of several sculptures and photographs in glass, marble, plastic, polychromed wood, mostly of the couple engaged in a sexual act, flowers also in polychromed wood, such as Wall Relief with Bird, 1991, Mound of Flowers, 1991. in glass and dogs like the Three Puppies, 1991 and the Yorkshire Terriers, 1991. After the breakdown of his marriage to Ilona Staller and the start of the now famous custody and abduction case of the only child of the couple, Ludwig Maximillian Koons, Jeff Koons creates the living sculpture of fourteen thousand flowering plants on a stainless steel frame, including an irrigation system called Puppy, 1992. The twelve meter sculptures are on permanent display. at the Guggenheim Museum in Bilbao, Spain since 1997 and at the Brant Foundation in Greenwich, Connecticut, United States since 2002, as well as temporarily exhibited at the Rockefeller Center, New York, United States in 2001 and at the Museum of Contemporary Art, Sydney, Australia in 1995. The sculptures have been shown to change shape in spring and summer, slowly transforming into a less neat profile as the flowers become overgrown and unruly. They are considered very joyful public art, especially in the setting of the Schloss Arolsen palace in Hesse, Germany, which serves as a natural setting or niche for the optimistic figure of Puppy. Childhood and adulthood celebrated, Rosenquist's reflections on Jeff KoonsPuppy was a natural sequel to Made in Heaven since the subject appeared alongside the figure-based works of Koons and Ilona Staller. It is evident that these works were inspired by the absence of his son, Ludwig, who also inspired many later works, including Celebration and Easyfun – Ethereal. The departure from Easyfun – Ethereal involves the collection of advertisements, found images, Koons himself who therefore made collages from his cuts in Photoshop (a technique that Rosenquist later applied) and then with the assembly From several teams of assistants, the paintings were executed on a large scale on canvas with oils. The celebration seemingly entirely dedicated to Ludwig and his absence featured the gifts and foods intrinsic to holiday festivities such as Christmas and birthdays. Some of the most iconic figures in the Celebration series are the sculptures titled Balloon Dog, 1994-2000. The chrome-plated stainless steel sculptures are covered in transparent colors of blue, magenta, yellow, orange and red and are approximately three meters high. The Balloon Dog sculpture evokes the excitement of a birthday party from the artist who makes twisted animals from long balloons, moments of total happiness and freedom in childhood. The series can be considered as a gift to a child of happy and precious moments. Many oil paintings of Celebration objects show the predecessor of several sculptures that dominate the Celebration collection. For example, Hanging Heart, 1995-1998, which features the object placed in front of iridescent red wrapping paper matching Hanging Heart, 1994-2006. sculpture in chrome-plated stainless steel with transparent coating in five versions and yellow brass. Hanging Heart, 1994-2006 rivals Balloon Dog, 1994-2000 for ranking some of Koons' most iconic works. Hanging Heart, 1994-2006 was sold at auction at Sotheby's to Larry Gagosian of the Gagosian Gallery for a record amount for.