Beschreibung:

Jeff Koons Popples 1988 porcelain 29 3/8 x 23 x 12 in. (74.6 x 58.4 x 30.5 cm.) This work is number 3 from an edition of 3 plus 1 artist's proof.
Provenance Donald Young Gallery, Chicago Private Collection L&M Arts, New York Private Collection Exhibited Cologne, Galerie Max Hetzler, Banality, November, 1988 (current example exhibited) New York, Sonnabend Gallery, Banality, November, 1988 (another example exhibited) Chicago, Donald Young Gallery, Banality, December, 1988 Newport Harbor, Newport Harbor Art Museum, Objectives: the New Sculpture, April - June, 1990 (another example exhibited) Berlin, Martin-Gropius-Bau, Metropolis, April - July, 1991 (another example exhibited) San Francisco, San Francisco Museum of Modern Art, Jeff Koons December 10, 1992 - February 7, 1993, then traveled to Minneapolis, Walker Art Center (July 10 - October 3, 1993) (another example exhibited) London, Anthony d'Offay Gallery, Jeff Koons A Survey 1981 - 1994, June 11 - July 30, 1994 (another example exhibited) Hamburg, Kunsthalle, Family Values: American Art in the Eighties and Nineties: the Scharpff Collection at the Hamburg Kunsthalle, 1996 (another example exhibited) Basel, Foundation Beyeler, Jeff Koons May 13 - October 2, 2012 (another example exhibited) Literature P. Carlsen, “Jeff Koons,” Contemporanea, Vol. I, no. 3, September/October, 1988, p. 40 (source original Popples toy illustrated) A. Jones, “Thriller,” Contemporanea, Vol. I, no. 3, September/October, 1988, p. 45 (illustrated) “Big Fun: Four Reactions to the new Jeff Koons Stuart Morgan, Jutta Koether David Salle and Sherrie Levine ” Artscribe International. March/April, 1989, p. 49 (illustrated) K. Kertess, “Bad,” Packett 19, Zurich, 1989, p. 41 (illustrated) D. Pinchbeck, “Jeff Koons,” Splash, April 1989, n.p. (illustrated) Objectives: the New Sculpture, exh. cat., Newport Harbor Art Museum, Newport Harbor, 1990, p. 84 (illustrated) Metropolis, exh. cat., Martin-Gropius-Bau, Berlin, 1991, p. 175 (illustrated) B. Kirschenblatt-Gimblett, “Who’s Bad? Accounting for Taste,” ArtForum, vol.30, no.3 (November 1991) p. 123 (illustrated) R. Rosenblum, Jeff Koons Handbook, New York: Rizzoli, 1992, p. 99 (illustrated) A. Muthesius, Jeff Koons Cologne: Taschen, 1992, pl. no. 10, p. 108 (illustrated) J. Avgikos, “All That Heaven Allows,” Flash Art, September 1993, p. 83 (illustrated) Jeff Koons exh. cat., Stedelijk Museum, Amsterdam, 1993, p. 70 (illustrated) Jeff Koons A Survey 1981 – 1994, exh. cat., Anthony d’Offay Gallery, London, 1994, n.p. (illustrated) Family Values: American Art in the Eighties and Nineties: the Scharpff Collection at the Hamburg Kunsthalle, exh. cat., Hamburg Kunsthalle, Hamburg, 1996, p. 49 (illustrated), pp.50-51 (illustrated) E. Smith Visual Arts in the Twentieth Century, New York: Harry N. Abrams, 1997, p. 355 H. Foster, “Violence: Representations of Violence – Return of Shock and Trauma,” Trans, vol, 1-2, issue 3-4, 1997, p. 43 (illustrated) “The World’s Top 200 Collectors,” Art News, Vol. 100, no. 7, Summer 2001, p. 146 (illustrated) H.W. Holzwarth, Jeff Koons Cologne: Taschen, 2007, p. 251 (illustrated) J. Marter, The Grove Encyclopedia of America Art, Oxford: Oxford University Press, 2011 p. 50 (illustrated) Jeff Koons exh. cat., Fondation Beyeler, Basel, 2012, p. 93 (illustrated) Catalogue Essay "Sexuality is the principal object of art. It’s about the preservation of the species. Procreation is a priority.” JEFF KOONS 2005 Though the name of Jeff Koons has been synonymous with controversy during the past three decades, his critics have been slow to recognize the inherent honesty in his body of work- a diverse oeuvre ranging from sculpture to photography and painting, molded to both critique and complement the ideologies of a changing world. It would be easy to dismiss much of Koons’s work as mere kitsch, crafted to assuage the public with its oversimplified portrayal of pop culture innocence. Yet this interpretation would fall far short of Koons’s intended effect—one that is as rare for an artist as it is brave: to be perfectly forthcoming in his work and to harbor no illusions of deeply-s