Jeff Koons</a> is rated as one of most successful artists of the present day. And he is surely one of the few living artists who largely owes his popularity to the cult he has systematically built up around his own personality: the way he presents himself in and through pictures has time and again proved to be an essential component of his artistic work. <a target="_blank" href=https://www.mutualart.com/Exhibition/Cult-Of-The-Artist--Jeff-Koons-Celebrati/"/Artist/Jeff-Koons/AB81FA827D72079B">Jeff Koons works</a> with the garish, loud and colourful, as well as with the playful and kitschy, while at the same clearly positing himself in art historical traditions. By doing so he draws on two of the most important artists of the modern day - Marcel Duchamp and Andy Warhol - as well as on the language of forms and theory of composition of the Baroque and Rococo. Jeff Koons` art installation in the upper hall of the New National Gallery will prove to be a spectacular performance from this prominent contemporary artist. Koons will put on display the glistening giant sculptures from his famous ‘Celebration` series, which he has been working on since the early 1990s and which instantly strike one as magnified children`s toys or giant gift items. And so Jeff Koons` exhibits will take their place in a long line of impressive artist installations in the upper hall of the New National Gallery, as seen most recently for example by those on show by Jörg Immendorff (in 2005) and Jannis Kounellis (in 2007)." />
Cult Of The Artist: Jeff Koons Celebration
Oct 31, 2008 - Feb 08, 2009
Jeff Koons is rated as one of most successful artists of the present day. And he is surely one of the few living artists who largely owes his popularity to the cult he has systematically built up around his own personality: the way he presents himself in and through pictures has time and again proved to be an essential component of his artistic work. Jeff Koons works with the garish, loud and colourful, as well as with the playful and kitschy, while at the same clearly positing himself in art historical traditions. By doing so he draws on two of the most important artists of the modern day - Marcel Duchamp and Andy Warhol - as well as on the language of forms and theory of composition of the Baroque and Rococo. Jeff Koons` art installation in the upper hall of the New National Gallery will prove to be a spectacular performance from this prominent contemporary artist. Koons will put on display the glistening giant sculptures from his famous ‘Celebration` series, which he has been working on since the early 1990s and which instantly strike one as magnified children`s toys or giant gift items. And so Jeff Koons` exhibits will take their place in a long line of impressive artist installations in the upper hall of the New National Gallery, as seen most recently for example by those on show by Jörg Immendorff (in 2005) and Jannis Kounellis (in 2007).
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Jeff Koons is rated as one of most successful artists of the present day. And he is surely one of the few living artists who largely owes his popularity to the cult he has systematically built up around his own personality: the way he presents himself in and through pictures has time and again proved to be an essential component of his artistic work. Jeff Koons works with the garish, loud and colourful, as well as with the playful and kitschy, while at the same clearly positing himself in art historical traditions. By doing so he draws on two of the most important artists of the modern day - Marcel Duchamp and Andy Warhol - as well as on the language of forms and theory of composition of the Baroque and Rococo. Jeff Koons` art installation in the upper hall of the New National Gallery will prove to be a spectacular performance from this prominent contemporary artist. Koons will put on display the glistening giant sculptures from his famous ‘Celebration` series, which he has been working on since the early 1990s and which instantly strike one as magnified children`s toys or giant gift items. And so Jeff Koons` exhibits will take their place in a long line of impressive artist installations in the upper hall of the New National Gallery, as seen most recently for example by those on show by Jörg Immendorff (in 2005) and Jannis Kounellis (in 2007).
Artists on show
Contact details
Sunday
11:00 AM - 6:00 PM
Tuesday - Friday
10:00 AM - 6:00 PM
Saturday
11:00 AM - 6:00 PM
Schlossstrasse 1, opposite Charlottenburg Palace Charlottenburg - Berlin, Germany 14059
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Wojciech Fangor</a> (1922–2015) reflects many of the artistic polemics and geopolitical upheavals of the past century. His reputation primarily rests on his innovative, abstract Modernist Op-art paintings that reached full maturity in his New York period in the 1960s. But considering Fangor’s long, transatlantic life and his diverse output, there is much more to excogitate. As a young man, Fangor had the benefit of traditional artistic training. During the Second World War in his birthplace, Poland, he received private tutelage from two much-admired art professors, Tadeusz Pruszkowski and, later, Felicjan Kowarski. Fangor found he could paint and draw whatever and however he wished and, as a result, his early works are full of confident stylistic sampling. Later, he would put his shape-shifting technical ability to good use in postwar communist Warsaw. It was not until 1958 that his celebrated spatial fuzzy-edged geometric abstract work emerged. But alongside this important body of work, Fangor continued to practice and develop his visual language in other ways as well. From the mid-1970s onwards, for example, came decades of playful postmodern re-figuring, quotation, and collage. Sensitive and talented, Fangor never ceased his engagement both with emerging art ideas and art history until his last day in the studio.</p><p><br></p>" />
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exhibition of Karel Appel</a> at the gallery.</p><p>‘The major Karel Appel retrospective at the Gemeentemuseum Den Haag in 2016 – ten years following the artist’s death – was set to radically renew the traditional view of Appel’s extensive oeuvre. Within its thematic structure, only one of the six large halls was dedicated to the CoBrA movement, while three of the others focused on very classical themes – nude, landscape or portrait. The prominence given to these classical themes flagrantly contradicted CoBrA’s primitivism. In addition, it was shown for the first time that Appel did not always paint 'spontaneously', but very often started from drawings, selected from the graphic diversity of his constantly active, visual thought process. This, too, shed a new light on Appel's traditional image, which is usually associated with the intuitive improvisation that set the tone for the avant-gardes of the fifties and sixties: the CoBrA Group, the Nouvelle École de Paris and Abstract Expressionism.</p><p>The exhibition at Galerie Max Hetzler concentrates on these three classic themes and, where preliminary drawings can be linked to the paintings on display, they are presented alongside them. The Classic Themes thus offers new insights into Karel Appel's working method, inviting a reassessment of established stereotypes. Due to the show’s thematic and therefore non-chronological structure, works from different stylistic phases are exhibited side by side.</p><p><br></p>" />
