杰夫·昆斯

杰夫·昆斯emerged in the 1980s as an innovative sculptor of exquisitely crafted objects, which quickly became icons of art history, the primary example of which isRabbit1986年。从一个充气的复活节兔子新奇的高度抛光不锈钢铸造而成，雕塑的镜面般的表面有一种怪诞的效果，把观者包括在他们凉爽的倒影中。

The Broad’s Koons collection is unrivaled globally and holds representative work from each stage of the artist’s diverse and ever-changing career. In its celebration of consumer goods and its questioning of the notion of “good taste,” Koons’s art has been critically received as an ironic comment on the decadence of the 1980s and of capitalist culture. Koons himself, however, posits a less cynical view, citing his relationship to his young son, transcendence, and the eternal resonance of beauty as motivating factors for his art.

In his Banality series, Koons created sculptures of dimensions and details monstrous and absurd. These works, likeMichael Jackson and Bubbles，1988年，在其尺寸和诱人的陶瓷表面上都引人注目，令人不安。杰克逊死气沉沉的皮肤和他穿着相配衣服的泡泡摆出的迷人姿势，引发了一系列关于名人和形象塑造的令人毛骨悚然的问题。

Celebration, an ongoing Koons series of sixteen paintings and twenty sculptures, rejoices in the rituals and images surrounding birthdays, holidays, and other party occasions.Tulips, 1995–2004, is among the grandest and most technically complex objects in the series, providing a perfect illusion of balloon flowers, constructed of seamless and mirror-polished stainless steel. The work is considered a successor to Koons’s inflatable pieces of the late 1970s.

In order to visualize and represent the desire that often accompanies the advertising of consumer products, forTriple Hulk Elvis II, 2007, Koons culled images from his giant collection of photographs and advertisements. The multiple sources were collaged into conceptual schematics and subsequently painted in a super-realistic, glossy fashion. While often concealed and veiled by toys and lush color, Koons takes Elvis Presley as his primary inspiration.