Date : 1980
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Quarter(s)
Sculpture (Object)
Région en relation
Berlin (Germany)
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In 1980, along with Jeff Koons, a generation of artists came on the scene who strategically and unscrupulously took up on the celebration of profanity and mass-media production, propagated two decades previously in the Pop Art movement. They even outdid their predecessors by using a cynical mix of kitsch and aesthetics, strategic enticement and the element of surprise, by means of aggressive and uncompromising exploitation of the language of Pop and indeed its commercial exploitation.
Both the artist's earlier works and his current works are actually obscene and pornographic artifacts, which appeal purely to the beholder's sense of curiosity. Koons didn't invent this tactic of calculated enticement, it is present in our here and now, a period committed to thrills and consumerism. Koons, who worked as a publicity manager for the Museum of Modern Art towards the end of the seventies, later perfecting his financial talent as a 'commodity broker' on Wall Street, knows like no other artist how to adapt his sterile and auratic objects to the rules of the art market. The stylization of that which is virgin, "immortal" (Koons), perfect and unused is characteristic of his objects, sculptures and pictures.
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