Jeff Koons, ‘Inflatable Ballon Flower (Yellow)’, 1997, Reis Studios

Parkett 50/51
manufactured by Schultes, Vienna,
Ed. 100/LX, signed and numbered
“Like a capricious genie, Jeff Koons gives people far more than they secretly ask for. In the toylike reflective surfaces of these works, one sees a morally distorted self, a primal, naked persona shamefully satisfying an unbridled appetite for sensation, the child one never grew up to be.” Vik Muniz Parkett No. 50/51, 1997

Work in its original box.

Ship from New York City

Signature: Signed and dated

Parkett show at MoMA, New York.

Purchased from Parkett by current collector

About Jeff Koons

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.

American, b. 1955, York, Pennsylvania, based in New York, New York