Beschreibung:

Jeff Koons Stay in Tonight 1986 oil inks on canvas 175.3 x 122.5 cm (69 x 48 1/4 in.) This work is the artist’s proof from an edition of 2 plus 1 artist’s proof and is accompanied by a certificate of authenticity.
Provenance Private Collection Phillips, New York, Contemporary Art Sale, 13 May 2010, lot 112 Acquired from the above sale by the present owner Exhibited Los Angeles, Daniel Weinberg Gallery, Luxury and Degradation, 1986 (another example exhibited) Milwaukee, Milwaukee Art Museum, Word As Image: American Art, 1960 - 1990, 1990 (another example exhibited) San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons 10 December 1992 – 3 October 1993, cat. no. 30, pl. 29, illustrated in colour(another example exhibited)

 Amsterdam, Stedelijk Museum; Denmark, Aarhus Kunstmuseum and Staatsgalerie Stuttgart, Jeff Koons Retrospektiv, 28 November 1992 – 3 January 1993 (Amsterdam) 22 January – 28 February (Denmark), 12 March – 18 April 1993 (Stuttgart) (another example exhibited) London, Gagosian Gallery, Pop Art is, 27 September – 10 November 2007, cat. no. 100, illustrated in colour (AP exhibited)



 Chicago, Museum of Contemporary Art, Jeff Koons 31 May - 21 September 2008 (another example exhibited) Frankfurt, Schirn Kunsthalle Frankfurt, Jeff Koons The Painter, 20 June - 23 September 2012 (another example exhibited) New York, Whitney Museum of American Art, Jeff Koons A Retrospective, 27 June - 19 October 2014, will travel to Paris, Centre Pompidou, Musée National d'Art Moderne (26 November 2014 - 27 April 2015), Bilbao, Guggenheim Museum Bilbao (5 June - 27 September 2015), (another example exhibited) Literature J.C. Ammann, 'Der Fall Jeff Koons/Jeff Koons: Case Study,' Parkett, no. 19, March 1989, p. 61 J. Koons and R. Rosenblum, The Jeff Koons Handbook, London, 1992, pp. 73, 158 (illustrated) Angelika Muthesius, ed., Jeff Koons Cologne 1992, fig. 22, p. 85, (illustrated in colour) Barry Hoffman, The Fine Art of Advertising, New York, 2002, p 135 (illustrated in colour) Hans Werner Holzwarth, ed., Jeff Koons Cologne 2008, p. 214, (illustrated in colour) Jeff Koons A Retrospective, exh. cat., Whitney Museum of American Art, New York, 2014, pl. 41, p. 83 (illustrated) Catalogue Essay As a keen observer of modern culture, no one explores and recontextualises cultural tropes like Koons. From his exploration of the Duchampian readymade in 1979’s the Pre-New, which would remain a staple of his work for the next 30 years, to his courageous challenges to perceptions of artistic etiquette in his Made in Heaven and Puppy series, Koons continually finds ways to create a dialogue with the viewer while maintaining a staggering degree of innovation in his art. Few artists possess this sensational gift for reliably monumental work, and Koons has achieved his stature through the marvelous skewering of our existing cultural norms. In Luxury and Degradation, his landmark 1986 series that took as its subject liquor advertisements and promotional materials, he employed appropriation as his most lethal tactic, presenting us with Stay in Tonight, 1986, a work that embodies his overarching project, integrating seduction, desire, material greed, and vicarious living all within the space of a single canvas. As with much of Koons's work, Stay in Tonight is a study in the differences between high art and low art. The liquor advertisement that it draws from would certainly be considered an excellent piece of formal advertising, but, as with his contemporary Richard Prince’s use of cigarette advertisement appropriations, it is Koons’s choice to elevate the piece that allows it to stand on its own. This technique differs somewhat from Koons's experiments with the readymade—the present lot is once divorced from its original context, blown up to fit the space of a canvas. It is almost a hybrid—a piece of commercial advertising set intentionally upon canvas, historically reserved only for artistic work. The series itself was a push into the realm of morality for Koons, whose previous work had dealt mostly with style and texture. But the aims of Luxury and Degradation was social in scope: the centering of alcohol as a cultural and pers