Jeff Koons: Season 5 Preview (October 2009)

What does Koons have to say about the idea of fantasy?

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On the subject of fantasy in art, Koons discusses the inspiration for his work Puppy (in the forthcoming Season 5 book):

"After the French Revolution, artists had all the freedom they wanted to use art in any manner. But Louis XIV was a symbol of what happens to art under a monarch (whoever controls it, it will eventually reflect his or her ego and simply become decorative). I was making reference to that because if I wanted that responsibility or had that opportunity, the same thing would eventually happen. Puppy (1992) is a large floral sculpture made out of 60,000 large flowers. I conceived that piece really thinking that it would be the type of work that Louis would have the fantasy for. He’d wake up in the morning, look out of his palace window, and think, “What do I want to see today? I want to see a puppy, and I want to see it made out of 60,000 plants, and I want to see it by this evening. Go to it!” And he would come home that night and voilà, there it would be!"

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What does Koons have to say about the idea of fantasy?
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On the subject of fantasy in art, Koons discusses the inspiration for his work Puppy (in the forthcoming Season 5 book):

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“Art should be something really powerful,” says Jeff Koons, “but at the same time, there’s morality that comes along with that.” Koons argues that “objects are metaphors for people” and views art as a vehicle for communication that “can connect you through history” and empower viewers to accept their own pasts, cultures and desires.

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This video is excerpted from the Season 5 episode Fantasy premiering on Wednesday, October 14, 2009 at 10pm (ET) on PBS (check local listings).

Fantasy presents four artists—Cao Fei, Mary Heilmann, Jeff Koons, and Florian Maier-Aichen—whose hallucinatory, irreverent, and sublime works transport us to imaginary worlds and altered states of consciousness.

Jeff Koons was born in 1955 in York, Pennsylvania; he lives and works in New York. Koons plucks images and objects from popular culture, framing questions about taste and pleasure. His contextual sleight-of-hand, which transforms banal items into sumptuous icons, takes on a psychological dimension through dramatic shifts in scale, spectacularly engineered surfaces, and subliminal allegories of animals, humans, and anthropomorphized objects. The subject of art history is a constant undercurrent, whether Koons elevates kitsch to the level of Classical art, produces photos in the manner of Baroque paintings, or develops public works that borrow techniques and elements of seventeenth-century French garden design. Organizing his own studio production in a manner that rivals a Renaissance workshop, Koons makes computer-assisted, handcrafted works that communicate through their meticulous attention to detail.

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