Jeff Koons

Some Aesthetic Decisions: A Centennial Celebration of Marcel Duchamp's Fountain (group show)
NSU Art Museum, Fort Lauderdale
14 May - 3 September 2017

One hundred years ago, Dada artist Marcel Duchamp forever changed the nature of art when he submitted Fountain, a porcelain urinal signed R. Mutt for the Society of Independent Artists exhibition in New York (April 9, 1917). This exhibition was an open call to artists in which any submission would be shown. Duchamp, who was on the Society’s board, tested the limits of the organization’s guidelines by anonymously submitting what would become his most famous readymade (an ordinary manufactured object that he designated as a work of art). The subsequent rejection of Duchamp’s Fountain by the exhibition’s organizers ignited a controversy that continues today about the definition of art and who gets to pass judgment.

NSU Art Museum Fort Lauderdale marks this landmark 100th anniversary with the exhibition Some Aesthetic Decisions: A Centennial Celebration of Marcel Duchamp’s Fountain. On view from May 14 – September 3, 2017, it features works by artists including Duchamp, Cory Arcangel, John Baldessari, Sophie Calle, Judy Fiskin, Sherrie Levine, Jeff Koons, Jorge Pardo, Francis Picabia, Julian Schnabel, Andy Warhol, Kara Walker and others in a variety of mediums that address issues of beauty, value and judgment. The exhibition is organized by NSU Art Museum Fort Lauderdale.

The exhibition addresses the multiple issues Fountain raised regarding aesthetics, including the act of making value judgements, the difference between taste and aesthetics, and whether everyone has the capacity to be receptive to the aesthetic condition of works of art. Works in the exhibition that are key to these issues include John Baldessari’s photographic book Choosing Green Beans, 1974, which demonstrates the randomness of aesthetic judgment; Sophie Calle’s The Blind, 1986, a series of photographs in which she asked individuals blind from birth to describe something beautiful, which she then photographed; Andy Warhol’s 1964 Brillo Soap Pads Box, Heinz Tomato Ketchup Box, Campbell’s Tomato Juice Box and Del Monte Peach Halves Box, replicas of commercial packaging that question the valuation of art; and Jeff Koons’ sculptures, Balloon Dog (Blue), 1994-2000 and Inflatable Flower and Bunny (Tall White and Pink Bunny), 1979, that combine fine craftsmanship with kitsch subjects.

NSU Art Museum, Fort Lauderdale


Jeff Koons

We are Everywhere (group show)
Museum of Contemporary Art Chicago, Chicago
21 October 2017 - 28 January 2018

Jeff Koons, Rabbit, 1986  © Jeff Koons Photo: Nathan Keay © MCA Chicago
Jeff Koons, Rabbit, 1986 © Jeff Koons Photo: Nathan Keay © MCA Chicago

We Are Everywhere, showcases artists who borrow from popular culture—soup cans, movie stills, neon signage, or floor tiles—to critique its workings. Artists such as Andy Warhol, Robert Rauschenberg, and Bruce Nauman, as well as Chicago Imagists Karl Wirsum and Roger Brown, re-present and reveal social realities that may otherwise go unnoticed. Artists such as Stan Douglas, Cindy Sherman, Gillian Wearing, Jeff Koons, and others have engaged with new forms of media to extend the reach of their own viewpoints and experiences. Barbara Kruger and Lawrence Abu Hamdan further encourage us to think twice about the power structures in which we invest, be they the notion of the state or the corporation.

Museum of Contemporary Art Chicago, Chicago

Jeff Koons, Albert Oehlen et al.

We love animals (group show)
Kunstmuseum Ravensburg, Ravensburg
1 July - 15 October 2017

Jeff Koons, Christopher Wool et al.

Pop Pictures People (group show)
Museum Brandhorst, Munich
30 June 2017 - 30 June 2018

André Butzer, Jeff Koons et al.

Hope and Hazard: A Comedy of Eros, curated by Eric Fischl (group show)
Hall Art Foundation, Vermont
6 May - 26 November 2017

The Hall Art Foundation is pleased to announce a group exhibition curated by American artist Eric Fischl to be held in its galleries in Reading, Vermont from 6 May – 26 November 2017.  Approximately sixty-five artists are represented in Hope and Hazard: A Comedy of Eros, which includes over eighty paintings, photographs, works on paper and sculptures selected by Fischl from the Hall and Hall Art Foundation collections. In this fresh and provocative show, Fischl illustrates the absurd extremes associated with romantic and sexual love. Desire, passion, vulnerability, disappointment, pleasure and torment are expressed as a Greek or Shakespearian comedy – epic and tragic, hopeful and hazardous.

Hall Art Foundation, Vermont