Produced in York, Pennsylvania, on January 21, 1955, artist Jeff Koons made a name for himself by using regular items in specific setups that touched on consumerism as well as the human encounter. A few of his artwork has consisted of overtly sexual subjects while others are found as a kind of neo-kitsch, like his balloon dogs. In 1988, he debuted a well-known sculpture of Michael Jackson.
While earning his M.F.A. there (1976), he attended a show at the Whitney Museum in New York, an exhibit that would alter his life. “I recall being an art student and going to the Whitney in 1974 to begin to see the exhibit of Jim Nutt, the Chicago imagist,” Koons says. “It was then I transferred to school in Chicago, all due to the show.” So Koons registered in the School of the Art Institute of Chicago, an association that will give him an honorary doctorate more than 30 years after (2008).
Koons’ first show was staged in 1980, and he emerged onto the art scene having a style that combined several present styles—pop, conceptual, craft, appropriation—to create his own unique way of expression. An “idea guy,” Koons now runs his studio as he’d a generation office, frequently using computer-aided design and hiring out the specific building of his pieces to technicians who are able to bring to life his thoughts with more precision than he himself could.
His work takes on, in typically non-traditional manners, such hot-button issues like sex, race, gender and popularity, and it comes to life in such types as balloons, bronzed sporting goods things and inflatable pool toys. His talent for elevating the prominence of such things from kitsch things to high artwork has made his name synonymous with the artwork of mass culture.
As well as the transformation that occurs from Koons’ discovering the things he will use as well as the artwork he creates with them regularly gives birth to an unanticipated emotional measurement, as changing colour, scale and rendering take on new significance, as well as the audience could discover something completely new in how people, creatures and anthropomorphized things come to life.
Koons’ displays have consistently generated divine responses, a characteristic that maybe itself is a mark in his significance as an artist, and since his first show in 1980 his works have been widely displayed from the other side of the world. In 2014, the Whitney, the museum that gave Koons a tremendous jolt of artistic inspiration as a pupil, held a retrospective of his body of work, the first to achieve this.
Of Koons, the Whitney says, “Throughout his career, he’s pioneered new strategies to the readymade, examined the borders between innovative artwork and mass culture, challenged the limits of industrial manufacturing, and transformed the relationship of artists to the cult of celebrity as well as the global market.” Along with high profile displays, Koons’ career continues to be famous for the variety of prestigious awards he’s received, which cross the whole course of his career.