Jeff Koons, ‘New Hoover Deluxe Shampoo Polishers’, Christie's

Jeff Koons (b. 1955)

New Hoover Deluxe Shampoo Polishers

three shampoo polishers, acrylic, fluorescent lights

56 x 36 x 15 in. (142.2 x 91.4 x 38.1 cm.)

Executed in 1980-1986.

Signature: New Hoover Deluxe Shampoo Polishers

Amsterdam, Stedelijk Museum; Aarhus Kunstmuseum and Staatsgalerie Stuttgart, Jeff Koons Retrospektiv, November 1992–April 1993, p. 23, no. 5 (illustrated in color).

Paris, Galerie Jérôme de Noirmont, Jeff Koons, September–November 1997, n.p. (illustrated in color).

Watertown, Mark W. Potter Gallery, Taft School, EAST/WEST, January–February 2014.

New York, Leila Heller Gallery, Pop Sculpture/Pop Culture, September–November 2014, pp. 22, 30 and 60 (illustrated in color).

A. d'Offay, J. Koons, and R. Rosenblum, _The Jeff Koons Handbook: A Catalogue Raisonné,_London, 1992, pp. 50-51 and 151 (illustrated in color).

A. Muthesius, ed., _Jeff Koons,_Cologne, 1992, pp. 44 and 164, no. 7 (illustrated in color).

A. Wehr, Plop: Recent Projects of the Public Art Fund, New York, 2004, p. 131 (illustrated in color).

H. Holzwarth, ed., Jeff Koons, Cologne, 2008, p. 130 (illustrated in color).

J. Chalmeau, Comprendre l'Art Contemporain, Paris, 2010, p. 162 (illustrated in color).

Anthony d'Offay Gallery, London

Giraud Pisarro Ségalot, New York

Acquired from the above by the present owner

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