25 Jeff Koons Naked 1988 porcelain 45 1/2 x 27 x 27 in. (115.6 x 68.6 x 68.6 cm) This work is the artist's proof from an edition of 3 plus 1 artist's proof.
Provenance Anthony d'Offay Gallery, London Acquired from the above by the present owner, 1994 Exhibited New York, Sonnabend Gallery, Banality, November 19 - December 23, 1988 (another example exhibited) Amsterdam, Stedelijk Museum; Aarhus Kunstmuseum; Staatsgalerie Stuttgart, Jeff Koons Retrospektiv, November 28, 1992 – April 18, 1993 (another example exhibited) p. 73 (illustrated) (Amsterdam & Stuttgart); cat. no. 39, p. 57, cover (illustrated) San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons December 10, 1992 - October 3, 1993, cat. no. 44, pl. 42 (illustrated) London, Anthony d'Offay Gallery, Jeff Koons A Survey 1981-1994, June 11 - July 30, 1994 New York, Gagosian Gallery, Jeff Koons/Andy Warhol: Flowers, November 11 - December 21, 2002 (another example exhibited), pp. 4, 14-15, 17 (illustrated) Chicago, Museum of Contemporary Art, Jeff Koons May 31 - September 21, 2008 (another example exhibited), p. 65 (illustrated) Basel, Fondation Beyeler, Jeff Koons May 13 - October 2, 2012, p. 100 (illustrated) New York, Whitney Museum of American Art, Jeff Koons A Retrospective, June 27, 2014 – October 19, 2014 (another example exhibited), pl. 62 (illustrated) Literature Michael Compton, “Pop Art II - Jeff Koons”, Art & Design, July 8, 1989, p.39 (illustrated) Jeff Koons “An Hommage to Armani”, ELLE, Munich, Germany, September 1, 1991, p. 107 (illustrated) Angelika Muthesius, Jeff Koons Cologne, 1992, pl. 8, p. 106 (illustrated) Jeff Koons Postcard Book, Cologne: Taschen. 1992, n.p. (illustrated) Jeff Koons and Robert Rosenblum, The Jeff Koons Handbook, London, 1992, p. 101 (illustrated) Alan Jones “Jeff Koons at the drawing board”, Art on Paper, Volume 10, No. 1, September/October 2005, p. 53 (illustrated) Hans-Jürgen Hafner, "Von Hegels instrumentellem 'Die Phantasie ist schaffend' zur Begründung der Kunst", Trouble With Fantasy, 2007 (illustrated) Alexandra Karentzos, “Tiny-Kitsch Very Big", Querformat, 2008, p. 26 (illustrated) Hans Werner Holzwarth ed., Jeff Koons Cologne: Taschen, 2009, p. 263 (illustrated) Andreas Tölke, “Gleichgewicht Der Kräfte”, Bild. March 2011, p.98, (illustrated) Hans Ulrich Obrist ed. Jeff Koons The Conversation Series 22. Cologne: Walther König, 2012, p. 36 (illustrated) What is Art? 27 Questions, 27 Answers, Basel: Fondation Beyeler/Hatje Cantz, 2012, p. 42-43 (illustrated) Michael Groth, "Material Boy: Jeff Koons at the Whitney", Hyperallergic, June 25, 2014 (illustrated) (online) Cedar Pasori, "Remembering That It's OK to Love Jeff Koons", COMPLEX ART + DESIGN, June 25, 2014 (illustrated) (online) Lorna Hall, "The Whitney Pulls Out All The Stops For Koons", Mind, July 23, 2014 (illustrated) (online) Simon Watson, "Jeff Koons at the Whitney", Huffington Post, August 26, 2014 (illustrated) (online) Manami Fujimori, "Jeff Koons", Art Techo, October 2014, p. 50 (illustrated) Luther Blissett, “La jouissance du retour en enfance”, Beaux Arts editions, December 2014. p. 56 (illustrated) Catalogue Essay “I think art teaches us how to feel, what our parameters can be, what sensations can be like; it makes you more engaged with life.” Jeff Koons Jeff Koons’s porcelain sculpture Naked, 1988, from his Banality series, addresses the timeless and profound dilemma of shame and guilt. The Banality sculptures are credited for launching the artist to international fame, in no doubt partly due to their simultaneous global showing with Sonnabend in New York, Donald Young in Chicago and Max Hetzler in Cologne. Culling his content from popular culture, the series of near life-sized polychromed wood and porcelain sculptures, presents a diverse range of subject matter from comedian Buster Keaton to the Pink Panther to Michael Jackson and his pet chimpanzee Bubbles that are thematically held together by what Hans Werner Holzwarth notes are “several basic elements: saccharine cuteness, sexual clichés, and Christian symbolism [that] materialize in an explosion of pastel, white and gui
25 Jeff Koons Naked 1988 porcelain 45 1/2 x 27 x 27 in. (115.6 x 68.6 x 68.6 cm) This work is the artist's proof from an edition of 3 plus 1 artist's proof.
Provenance Anthony d'Offay Gallery, London Acquired from the above by the present owner, 1994 Exhibited New York, Sonnabend Gallery, Banality, November 19 - December 23, 1988 (another example exhibited) Amsterdam, Stedelijk Museum; Aarhus Kunstmuseum; Staatsgalerie Stuttgart, Jeff Koons Retrospektiv, November 28, 1992 – April 18, 1993 (another example exhibited) p. 73 (illustrated) (Amsterdam & Stuttgart); cat. no. 39, p. 57, cover (illustrated) San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons December 10, 1992 - October 3, 1993, cat. no. 44, pl. 42 (illustrated) London, Anthony d'Offay Gallery, Jeff Koons A Survey 1981-1994, June 11 - July 30, 1994 New York, Gagosian Gallery, Jeff Koons/Andy Warhol: Flowers, November 11 - December 21, 2002 (another example exhibited), pp. 4, 14-15, 17 (illustrated) Chicago, Museum of Contemporary Art, Jeff Koons May 31 - September 21, 2008 (another example exhibited), p. 65 (illustrated) Basel, Fondation Beyeler, Jeff Koons May 13 - October 2, 2012, p. 100 (illustrated) New York, Whitney Museum of American Art, Jeff Koons A Retrospective, June 27, 2014 – October 19, 2014 (another example exhibited), pl. 62 (illustrated) Literature Michael Compton, “Pop Art II - Jeff Koons”, Art & Design, July 8, 1989, p.39 (illustrated) Jeff Koons “An Hommage to Armani”, ELLE, Munich, Germany, September 1, 1991, p. 107 (illustrated) Angelika Muthesius, Jeff Koons Cologne, 1992, pl. 8, p. 106 (illustrated) Jeff Koons Postcard Book, Cologne: Taschen. 1992, n.p. (illustrated) Jeff Koons and Robert Rosenblum, The Jeff Koons Handbook, London, 1992, p. 101 (illustrated) Alan Jones “Jeff Koons at the drawing board”, Art on Paper, Volume 10, No. 1, September/October 2005, p. 53 (illustrated) Hans-Jürgen Hafner, "Von Hegels instrumentellem 'Die Phantasie ist schaffend' zur Begründung der Kunst", Trouble With Fantasy, 2007 (illustrated) Alexandra Karentzos, “Tiny-Kitsch Very Big", Querformat, 2008, p. 26 (illustrated) Hans Werner Holzwarth ed., Jeff Koons Cologne: Taschen, 2009, p. 263 (illustrated) Andreas Tölke, “Gleichgewicht Der Kräfte”, Bild. March 2011, p.98, (illustrated) Hans Ulrich Obrist ed. Jeff Koons The Conversation Series 22. Cologne: Walther König, 2012, p. 36 (illustrated) What is Art? 27 Questions, 27 Answers, Basel: Fondation Beyeler/Hatje Cantz, 2012, p. 42-43 (illustrated) Michael Groth, "Material Boy: Jeff Koons at the Whitney", Hyperallergic, June 25, 2014 (illustrated) (online) Cedar Pasori, "Remembering That It's OK to Love Jeff Koons", COMPLEX ART + DESIGN, June 25, 2014 (illustrated) (online) Lorna Hall, "The Whitney Pulls Out All The Stops For Koons", Mind, July 23, 2014 (illustrated) (online) Simon Watson, "Jeff Koons at the Whitney", Huffington Post, August 26, 2014 (illustrated) (online) Manami Fujimori, "Jeff Koons", Art Techo, October 2014, p. 50 (illustrated) Luther Blissett, “La jouissance du retour en enfance”, Beaux Arts editions, December 2014. p. 56 (illustrated) Catalogue Essay “I think art teaches us how to feel, what our parameters can be, what sensations can be like; it makes you more engaged with life.” Jeff Koons Jeff Koons’s porcelain sculpture Naked, 1988, from his Banality series, addresses the timeless and profound dilemma of shame and guilt. The Banality sculptures are credited for launching the artist to international fame, in no doubt partly due to their simultaneous global showing with Sonnabend in New York, Donald Young in Chicago and Max Hetzler in Cologne. Culling his content from popular culture, the series of near life-sized polychromed wood and porcelain sculptures, presents a diverse range of subject matter from comedian Buster Keaton to the Pink Panther to Michael Jackson and his pet chimpanzee Bubbles that are thematically held together by what Hans Werner Holzwarth notes are “several basic elements: saccharine cuteness, sexual clichés, and Christian symbolism [that] materialize in an explosion of pastel, white and gui
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