Few artists have been as discussed in recent times, either on his intense ability to be feted as a catalyst for a complex and bold artistic movement, either by their questionable amorous preferences and narcissistic tendencies.
And if the creator of an artistic work not exactly be your executor?
For most people this is to sound really weird. In time, it is a sense of alienation even greater than that which we glimpse the point of view of the designer of a house. Often the engineer or architect builds the house that schemed. Invariably, does not come with a brick even in that work. But there is a fundamental difference between the design of a house and a work of art: an artistic object has a concept that is inseparable from the execution, or at least, that's what we used to think it.
On this trip, however, it is necessary to review the entire design acquired over time on art. It is this artistic kind of complexity that you want to talk. Something treated as conceptual art, a model that resembles a non-model and that became widespread after the advent of Pop Art, from the mid-60s of last century to the present times, and the chosen artist to introduce this form of expression is the renowned and respected "designer" art Jeff Koons.
We can say that this is one of those extraordinary people who perspire eccentricity. And what is more incredible: not Koons puts his hand on anything. His works are totally created by artisans who he hires, and often are even bought ready-made, to be modified by his fertile mind from preconceived models, famous work if Michael Jackson and Bubbles, made of porcelain.
It is remarkable that Jeff Koons is a man attentive to the world as it stands and trends of artistic postmodernism. Visionary, skilled at capturing the magnitude of an artistic sense, expanding it under the aegis of the trend in which was inspired initially Koons has almost always worked over the years with the distortion of Pop Art through its most mundane aspects. His sculptures cast an inevitable look megalomaniac on the atmosphere of the simplest things and unbelievable materials employing in their projects are fruits of a thorough and inventive mind, these are inimitable designs, full of restlessness and very unique, especially for emulating much more valuable objects in its traditional form with unparalleled accuracy.This series is highly unlikely not to be charmed by the very valuable "The Tulips" work acquired by tycoon Steve Wynn for an unbelievable thirty-three million dollars. Designed to be similar to those children ultra-bright inflatable balloons, giant size, however, made from a highly resistant mirror polished steel.
Over the years, Koons has devoted some series of his vast collection to this playful way of thinking about everyday objects. Several of his sculptures most acclaimed critically based their visual identity that same distorted context of very ordinary things, strictly speaking, emulated art inflatable balloons, configured from materials that no one could ever imagine that could be employed with such ingenuity in these artistic models like the colorful polished steel with glass Brightness.
Objectively, it is to be observed that the way Jeff Koons works with the steel is its unparalleled artistic brand and its most unique feature, and so today there are still world renowned art critics around the doubters technical resources used in their works, which gives tremendous value to his work design, given the complex elements with which it works.
Since always, the works of this artist imponderable were inexhaustibly based on meta - art to speak of art. They are sculptures, mostly, but there are also tables and own conceptual models such as the fantastic flowers Dog Puppy (puppy dog in English), race White Highland Terrier with incredible 16 meters high, developed in the midst of a garden palace , in protest for not having participated in the Documenta in Kassel in 1992, Germany, Celebration exhibition.
Puppy ended up being transported in 1997 to the Guggenheim Museum in Bilbao, Spain, to guard well the beautiful entrance to the museum, but their permanent stay there originated in petition by a group of children from a local school, which shows the enchantment of ordinary people with the artistic style of Koons. The structure of this work is composed of stainless steel and clay that contains an internal irrigation to meet the 70000 Monument flowers 15 tons. The concept of Puppy is so modern and complex sculpture changes color as the flowers are transformed, blossoming, blooming and dying, and renewed twice a year in a very careful and constant work.
Another similar work Koons is the Split-Rocker, which follows the same visual concept and has been running the world, being exposed in acclaimed gardens.
In a unique way, different very interesting works of Koons have aroused much artistic interest in recent years, as their number of real inflatable, initiated by Five Double-Sided Floor Mirrors with Inflatable Flowers, too intriguing work and takes a fantastic look mysterious about a new way of working with originality on a concept already exercised.
There is also, more recently, its based acrylic sculptures on transparencies and games shadows with bright colors, absolutely inventive and laden with subjectivity, as Coloring Book, exposed the streets of London.
On the other hand, a man so restless and original could not be less relevant inner life that his work. Jeff Koons has been married for three years with none other than the global icon porn Cicciolina and it was during this period that he created his most controversial collection, the MADE IN HEAVEN, which exposed the shameless way his sexual life with the most desirable porn star in history , drawing on sculptures that simulated sexual positions in wax and glass, plus intense visual clippings.
Conclusively, there is no denying that this work, as well as the impact of all that surrounded him, including the exaggeration, the exposure of his private life, was the springboard that lifted the greatest artistic flights, making it world famous and making it a global icon of his artistic expression, although it also served to belittle his image to colleagues and art critics who accused him of promoting him in a spurious manner.
It is certain that even before Jeff Koons, many have said that Pop Art should not have limits, but the bold and narcissistic postmodernism this artist could be much more free and unashamed that his artistic predecessor to cause outbursts to impose limits on who always preached the absolute visual opening.
As it turns out, the discussion of censorship is a necessary evil when the art limit is doubtful, even for those who preach freedom of expression without brakes.