January 29, 2008
Young Artists: Jeff Koons is in the trenches and he is rooting for you
Jeff Koon's interviewer at the 92nd Street Y was ,unfortunately for the audience, Kelly Siegel who has a relationship with Koons. Siegel is writing the main essay to Koon's new monograph, and made it apparent that she has a very cozy relationship with the artist.
Listening to Koon's talk, I had to speculate that perhaps it wasn't his irreverent and humorous appropriations, or his self-reliance that made Koons such a mega art star, but his clean cut Wall Street looks and his even news announcer voice. I found myself soothed by his slow, confident talk.
Siegel came to a slide of a photorealistic painting of a close-up of Koons penetrating his ex-wife and ex-porn star, Ilona Staller. Koons spoke of it in the same even manner as he had of an earlier slide of a Corbet painting. "It is about self acceptance and the essence of life. This is how we survive as a species. It takes confidence to show the world your asshole and I love Ilona 's asshole."
When the formal interview ended the audience got a chance to ask the questions that Siegel had avoided. The first question's bluntness made me squirm in my seat. "Do you think you art is worth the prices that it commands and if so, why?"
This is where Koons finally got to play the part that his looks suggest, as the politician. He answered that he doesn't consider art in an economic sense. He stammered and repeated himself. He may be sincere, but it is inescapable that the rest of the world _does_consider his art in an economic sense. Even his sympathetic interviewer began the evening by mentioning Blue Diamond's extraordinary purchase price of $23M.
Finally, someone asked the question that is inevitable in New York: "What young artists' work do you admire and what advice do you have for young artists today?"
Not the comments about economic class that revealed his privilege, or his sexualizing of all of his ready-mades, or the explicit work with his porn-star wife, it is in his answer to this question that Koons disappointed me. "Um, I am so busy I don't have time to see a lot of new art, but I like all young artists. As a young artist, if you want to join the conversation there are so many opportunities. We are all rooting for you. So many people are excited and support you. We want to see what you have to bring to the table."
Although he had spoke about creating dialogue and being in 'the conversation' with other artists this answer condemned Koons as someone so insulated by the comforts and the responsibility of his own grandiose success that he has become detached -not only from the conversations and developments in art- but also in culture, which is his subject.
Listening to Koon's talk, I had to speculate that perhaps it wasn't his irreverent and humorous appropriations, or his self-reliance that made Koons such a mega art star, but his clean cut Wall Street looks and his even news announcer voice. I found myself soothed by his slow, confident talk.
Siegel came to a slide of a photorealistic painting of a close-up of Koons penetrating his ex-wife and ex-porn star, Ilona Staller. Koons spoke of it in the same even manner as he had of an earlier slide of a Corbet painting. "It is about self acceptance and the essence of life. This is how we survive as a species. It takes confidence to show the world your asshole and I love Ilona 's asshole."
When the formal interview ended the audience got a chance to ask the questions that Siegel had avoided. The first question's bluntness made me squirm in my seat. "Do you think you art is worth the prices that it commands and if so, why?"
This is where Koons finally got to play the part that his looks suggest, as the politician. He answered that he doesn't consider art in an economic sense. He stammered and repeated himself. He may be sincere, but it is inescapable that the rest of the world _does_consider his art in an economic sense. Even his sympathetic interviewer began the evening by mentioning Blue Diamond's extraordinary purchase price of $23M.
Finally, someone asked the question that is inevitable in New York: "What young artists' work do you admire and what advice do you have for young artists today?"
Not the comments about economic class that revealed his privilege, or his sexualizing of all of his ready-mades, or the explicit work with his porn-star wife, it is in his answer to this question that Koons disappointed me. "Um, I am so busy I don't have time to see a lot of new art, but I like all young artists. As a young artist, if you want to join the conversation there are so many opportunities. We are all rooting for you. So many people are excited and support you. We want to see what you have to bring to the table."
Although he had spoke about creating dialogue and being in 'the conversation' with other artists this answer condemned Koons as someone so insulated by the comforts and the responsibility of his own grandiose success that he has become detached -not only from the conversations and developments in art- but also in culture, which is his subject.
Labels: Jeff Koons
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