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Dolphin (Bicycle Ride) (From In the Darkest Hour There May Be Light), 2006

Lithograph printed in colours, on wove paper
16 1/2 × 11 3/5 in
42 × 29.5 cm
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About the work
FA
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Signed, dated and inscribed 'AP' in pencil, one of twenty-nine artist's proofs aside …

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Signed, dated and inscribed 'AP' in pencil, one of twenty-nine artist's proofs aside from the standard edition of 50, co-published by the Serpentine Gallery and Other Criteria, London, the full sheet, 420 x 295mm (16 1/2 x 11 5/8in) (unframed)

Medium
Print
Jeff Koons
American, b. 1955
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Jeff Koons plays with ideas of taste, pleasure, celebrity, and commerce. “I believe in advertisement and media completely,” he says. “My art and my personal life are based in it.” Working with seductive commercial materials (such as the high chromium stainless steel of his “Balloon Dog” sculptures or his vinyl “Inflatables”), shifts of scale, and an elaborate studio system involving many technicians, Koons turns banal objects into high art icons. His paintings and sculptures borrow widely from art-historical techniques and styles; although often seen as ironic or tongue-in-cheek, Koons insists his practice is earnest and optimistic. “I’ve always loved Surrealism and Dada and Pop, so I just follow my interests and focus on them,” he says. “When you do that, things become very metaphysical.” The “Banality” series that brought him fame in the 1980s included pseudo-Baroque sculptures of subjects like Michael Jackson with his pet ape, while his monumental topiaries, like the floral Puppy (1992), reference 17th-century French garden design.

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About the work
FA
Forum Auctions

Signed, dated and inscribed 'AP' in pencil, one of twenty-nine artist's proofs aside …

Read more

Signed, dated and inscribed 'AP' in pencil, one of twenty-nine artist's proofs aside from the standard edition of 50, co-published by the Serpentine Gallery and Other Criteria, London, the full sheet, 420 x 295mm (16 1/2 x 11 5/8in) (unframed)

Medium
Print
Jeff Koons
American, b. 1955
Follow

Jeff Koons plays with ideas of taste, pleasure, celebrity, and commerce. “I believe in advertisement and media completely,” he says. “My art and my personal life are based in it.” Working with seductive commercial materials (such as the high chromium stainless steel of his “Balloon Dog” sculptures or his vinyl “Inflatables”), shifts of scale, and an elaborate studio system involving many technicians, Koons turns banal objects into high art icons. His paintings and sculptures borrow widely from art-historical techniques and styles; although often seen as ironic or tongue-in-cheek, Koons insists his practice is earnest and optimistic. “I’ve always loved Surrealism and Dada and Pop, so I just follow my interests and focus on them,” he says. “When you do that, things become very metaphysical.” The “Banality” series that brought him fame in the 1980s included pseudo-Baroque sculptures of subjects like Michael Jackson with his pet ape, while his monumental topiaries, like the floral Puppy (1992), reference 17th-century French garden design.

Dolphin (Bicycle Ride) (From In the Darkest Hour There May Be Light), 2006

Lithograph printed in colours, on wove paper
16 1/2 × 11 3/5 in
42 × 29.5 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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