Jeff Koons (b. 1955)

細節

Jeff Koons (b. 1955)

Three Ball Total Equilibrium Tank

glass, iron, water, sodium chloride reagent and three basketballs
60½ x 48¾ x 13½in. (153.6 x 123.8 x 33.6cm.)

Executed in 1985. This work is number two from an edition of two and is to be sold with a certificate of authenticity signed by the artist.

來源

International with Monument, New York.
George Waterman, New York.

出版

D. Cameron, NY ART NOW, Milan 1988, p. 133 (illustration of another example).
F. Jameson, E. Michand, E. Sussman, D. Joselit and A. Solomon-Godeau, Utopia Post Utopia: Configurations of Nature and Culture in Recent Sculpture and Photography, Boston 1988, p. 56 (illustrated).
M. Danoff, Jeff Koons, Chicago 1988, p. 17, no. 10 (illustration of another example).
Stedelijk Museum, Horn of Plenty: Sixteen Artists from NYC, Amsterdam 1989, p. 13 (illustration of another example).
N. Benezra, Affinities and Intuitions: The Gerald S. Elliott Collection of Contemporary Art, Chicago 1990, p. 290, no. 73 (illustration of another example).

展覽

New York, International with Monument, Jeff Koons, May-June 1985.
Malmö, Rooseum, Art at the End of the Social, July-Oct. 1988, p. 163, no. 56 (illustrated).

拍品專文

Koons executed the 'flotation tanks' in two configurations: the 'Total Equilibrium,' where the basketball(s) are fully submerged in a full tank of salt water, and the '50/50,' where the basketball(s) are semi-submerged in a half-tank of salt water. The two variations were fabricated in combiantions of one, two or three basketballs, and the edition is determined by the type of basketball(s) in the tank. This version includes three Spalding Dr. J. Silver Series #6 basketballs.

In 1985, Jeff Koons first exhibited Three Ball Total Equilibrium Tank at International with Monument Gallery in New York. The installation consisted of a number of 'flotation tanks,' bronze sculptures from sporting goods (basketballs, snorkels, aqualungs, etc.) and a series of framed Nike advertisements. In the tradition of Marcel Duchamp's readymades, all of these works expressed the artist's interest in the mass-produced object as art. "Koons made the tanks because he wanted his work to become 'more biological' and 'the viewer not to think of consumerism'" (A. Schwartzman, 'The Yippie-Yuppie Artist,' Manhattan, Inc., Dec. 1987, p. 140). This explains their peaceful, almost womb-like quality. The tanks are self-contained environments which closely compare to Koons earlier work, The New, in which vacuum cleaners were encased in fluorescently lit Plexiglas boxes.