NOT SOLD (BIDDING OVER)
0.00USD+ applicable fees & taxes.
This item WAS NOT SOLD. Auction date was 2003 Nov 13 @ 19:00UTC-5 : EST/CDT
PROPERTY from
the pisces trust
JEFF KOONS
(b. 1955)
NEW HOOVER DELUXE
SHAMPOO POLISHER
two Hoover Deluxe shampoo polishers, fluorescent lights in Plexiglas vitrine
56 x 235/8 x 141/8 in.
(142 x 60 x 36 cm)
executed in 1980
this work is unique, of the series THE NEW and accompanied by a certificate of authenticity signed
by the artist
ESTIMATE: $400,000-600,000
PROVENANCE
Daniel Weinberg Gallery, LOS ANGELES
EXHIBITED
NEW YORK, The New Museum of Contemporary Art, THE NEW
(Window Installation), 1980
LOS ANGELES, Otis Parsons Exhibition Center, A BROKERAGE OF DESIRE, July 11-August 16, 1986, p. 18, no. 18 (illustrated)
PARIS, Musée National d'Art Moderne, Centre Georges Pompidou,
LES COURTIERS DU DÉSIR/CARTE BLANCHE, April 15-May 24, 1987
San Francisco Museum of Contemporary Art, December 10, 1992-February 7, 1993 and MINNEAPOLIS, Walker Art Center, July 10-
October 3, 1993, JEFF KOONS, pl. 24
exhibited
Donaueschingen, Fürstenburg Sammlugen, AHEAD OF THE 21st CENTURY: THE PISCES COLLECTION, June 2002-October 2004, p. 108, no. 77 (illustrated)
LITERATURE
Anthony d'Offay and R. Rosenblum, eds., THE JEFF KOONS HANDBOOK, LONDON, 1992, p. 150 (listed)
A. Mathesius, ed., JEFF KOONS, COLOGNE, 1992, p. 42, no. 4
(illustrated twice)
T. Kellein and A. Homem, eds., JEFF KOONS: PICTURES 1980-2002,
NEW YORK, p. 17 (illustrated)
U. Grosenick, Fürstenburg Sammlugen, AHEAD OF THE 21st CENTURY: THE PISCES COLLECTION, ostfildern-ruit, 2002, p. 108, no. 77 (illustrated)
In the body of work I called "The New," I was interested in a psychological state tied to newness and immortality: the gestalt came directly from viewing an inanimate object - a vacuum cleaner - that was in a position to be immortal
J. Koons, THE JEFF KOONS HANDBOOK, NEW YORK, 1992, p. 50
In the early 1980s, Jeff Koons resuscitated the conceptual genius of Marcel Duchamp by presenting various found objects as fine art, as a means to cross boundaries and question our perceptual habits. In the process, Koons provokes an alternative way of looking at everyday things and make us reconsider them by putting its formal and metaphorical qualities into words, just as Duchamp accomplished with his iconic FOUNTAIN. These first displays of readymades, which included inflatable toy rabbits, vacuum cleaners and basketballs floating in aquarium tanks, brought Koons instant acclaim and offered incisive commentary on our culture's prevailing obsession with commodities. Koons' NEW HOOVER DELUXE SHAMPOO POLISHER, 1980, is not only one of the artist's early works from the series The New, but also one of the most iconic pieces from this body of work.
In describing his works from The New, Koons explains, "They're very virginal and very frightening. I mean, they're dealing with the immortal. The vacuum cleaners are being displayed for their newness. They are displayed for their newness. They are displaying their integrity of birth. They never function...The pieces were never about the design, the style. That's why I picked something as banal as a vacuum cleaner. Also, its function is to clean, but my pieces are non-functioning, so, if they're taken care of properly, and kept encased, they'll last forever. I went around and bought up all the vacuum cleaners I could before they stopped making a certain model. I wasn't showing them with indifference. I was being very specific. I was showing them for their anthropomorphic quality, their sexual androgyny. They are breathing machines. But when they do function, they suck up dirt. The newness is gone. If one of my works was to be turned on, it would be destroyed!...These works present ideal newness. The whole philosophy of my work maintains that the individual just needs self-confidence in life. Self-confidence that cleverness is enough - that they can display themselves, use the abilities that they have...They just have to do it with themselves" (Jeff Koons quoted in A. Muthesius, ed., JEFF KOONS, COLOGNE, 1992, p. 17).
Like most of Koons' deceptively deadpan sculpture, NEW HOOVER DELUXE SHAMPOO POLISHER possesses a surprising amount of poetry, in which everyday objects function as metaphors for human aspirations towards perpetual serenity. Koons goes on to explain that, "The objects in The New had integrity because of their newness. As soon as an object would start to be used it would lose its integrity. That was the opposite of the human condition where the individual has to participate in order to gain integrity. I made these things that were visually attractive like paintings, inflatable flower, very bright colored images, but I thought that the color was too much related to my own sexuality. I thought they were too subjective. The New was for me to make my work more objective. It was also about taking my own sexuality out of the work, and letting these objects display their sexuality. I could look at the vacuum cleaners, and generally they'd read as both male and female. But I always wanted to keep the total audience, and I realized in time that I had to bring sexuality back into my work, step by step" (Jeff Koons quoted in T. Kellein, ed., PICTURES: JEFF KOONS 1980-2002, NEW YORK, 2002, p. 17).
Auction Location:
United States
Previewing Details:
Saturday November 1, 2003 10am to 5pm
Sunday November 2, 2003 1Pm to 5pm
Monday November 3, 2003 10am to 5pm
Tuesday November 4, 2003 10am to 5pm
Wednesday November 5, 2003 10am to 5pm
Thursday November 6, 2003 10am to 5pm
Friday November 7, 2003 10am to 5pm
Saturday November 8, 2003 10am to 5pm
Sunday November 9, 2003 1Pm to 5pm
Monday November 10, 2003 10am to 5pm
Tuesday November 11, 2003 10am to 5pm
Wednesday November 12, 2003 10am to 5pm
Additional Fees:
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