{"title":"Jeff Koons","description":"\u003cp\u003eJeff Koons (born 1955) is an American artist whose work since the early 1980s has engaged with consumer culture, mass production, desire and the aesthetics of kitsch. His \u003cem\u003eEquilibrium\u003c\/em\u003e series suspended basketballs in tanks of water; his \u003cem\u003eBanality\u003c\/em\u003e series produced large-scale polychromed wood and porcelain sculptures of Michael Jackson, Pink Panther and other figures drawn from popular entertainment. His monumental stainless steel balloon sculptures — including \u003cem\u003eRabbit\u003c\/em\u003e (1986) and the \u003cem\u003eBalloon Dog\u003c\/em\u003e series — became among the most recognisable and commercially successful works in contemporary art. Koons’s practice operates at the intersection of Pop art, appropriation and a sustained inquiry into the relationship between high and low culture, authenticity and reproduction, and the mechanisms through which objects acquire value and meaning.\u003c\/p\u003e","products":[{"product_id":"new-observations-nos-50-51-84","title":"RICHARD PRINCE \/ JOHN DOGG — New Observations Nos. 50, 51 \u0026 84, New York, 1987–c.1991","description":"\u003cp\u003eNew York, 1987 \/ c. early 1990s. Three magazine issues. Offset print on paper, approx. 27 × 21 cm each. Sold as a group.\u003c\/p\u003e\u003cp\u003eThree issues of \u003cem\u003eNew Observations\u003c\/em\u003e, a New York-based magazine operating at the intersection of art, criticism, and theory during the late 1980s moment when image culture, appropriation, and postmodern discourse converged into a shared field.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 50 — Sculpture and Paradise\u003c\/strong\u003e (guest edited by Alain Kirili) assembles a cross-section of sculptural thinking alongside figures such as Louise Bourgeois, Julia Kristeva, and Stephen Westfall — positioning sculpture not as medium but as a conceptual condition moving between language, body, and form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 51 — Radical Consumption and the New Poverty\u003c\/strong\u003e (guest edited by Collins \u0026amp; Milazzo) shifts toward the economies of images and objects, with contributions from Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Allan McCollum, and John Dogg — the shared alias of Richard Prince and Colin de Land, inserting authorship itself into the field of exchange.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 84 — Alchemy\u003c\/strong\u003e extends this logic into a more diffuse, quasi-symbolic register, bringing together Marcel Duchamp, Joseph Beuys, Sigmar Polke, and Gordon Matta-Clark under a thematic structure that reads less as editorial coherence and more as an accumulation of references — material, conceptual, and historical.\u003c\/p\u003e\u003cp\u003eAcross the three, the publication operates as a site of alignment rather than documentation: artists, critics, and positions placed in proximity, indexed, and circulated. The magazine becomes a container for overlapping authorial identities, where contribution and citation blur into one another.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good to very good. General age toning, light surface wear, and handling marks consistent with periodical use and storage. Original period items. Ships protected.\u003c\/p\u003e","brand":"New Observations","offers":[{"title":"Default Title","offer_id":53288792424786,"sku":"NEW-OBS-50-51-84","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/New-Observations-magazine-005.jpg?v=1777178675"},{"product_id":"nicolas-bourriaud-postproduction-lukas-sternberg-new-york-2002","title":"NICOLAS BOURRIAUD — Postproduction: Culture as Screenplay: How Art Reprograms the World, Lukas \u0026 Sternberg, New York, 2002","description":"\u003cp\u003eSoftcover. 11 × 17 cm. 96 pages. First edition. Translated by Jeanine Herman. Designed by Surface. Published by Lukas \u0026amp; Sternberg, New York, 2002. ISBN 0-9711193-0-9.\u003c\/p\u003e\u003cp\u003eFirst published in 2002, \u003cem\u003ePostproduction\u003c\/em\u003e became one of the defining theoretical texts for understanding art made through existing images, objects, recordings and cultural products. Nicolas Bourriaud describes a generation of artists working less as isolated producers than as users, editors, programmers and DJs: selecting material already in circulation and assigning it another sequence, context or function.\u003c\/p\u003e\u003cp\u003eMoving between the readymade, appropriation, sampling, exhibition-making and consumer culture, the book considers artists including Marcel Duchamp, Jeff Koons, Mike Kelley, Pierre Huyghe, Rirkrit Tiravanija, Liam Gillick and Philippe Parreno. Its central proposition is that cultural production no longer begins with a blank surface. The available world becomes material.\u003c\/p\u003e\u003cp\u003eThe book followed Bourriaud’s influential writing on relational aesthetics but shifted the emphasis from participation towards use. Production and consumption begin to overlap. A record is sampled, an artwork is re-exhibited, a commercial object is redirected, and a historical form becomes available for another programme.\u003c\/p\u003e\u003cp\u003eFor The New Rare, the text provides a useful vocabulary for understanding the continued life of printed matter. Catalogues, invitations, reproductions and discarded publications do not remain fixed within their original purpose. They can be selected, retained, resold, displayed and placed into new relations. Circulation becomes part of the object’s meaning.\u003c\/p\u003e\u003cp\u003eThe compact format and restrained Surface design reinforce this position. Pale horizontal lines and partially obscured text appear across the white wrappers, as though information has already passed through several stages of reproduction. This copy carries further evidence of that passage through reading, storage and handling.\u003c\/p\u003e\u003cp\u003eCondition: good used condition. General toning, rubbing and handling marks to the pale wrappers, with scattered spotting and light surface staining. Minor wear to the edges and corners. Occasional marks internally, including a small stain to one illustrated spread. Binding remains intact.\u003c\/p\u003e","brand":"Lukas \u0026 Sternberg","offers":[{"title":"Default Title","offer_id":53819146174802,"sku":"BOURRIAUD-LUKAS-CAT-2002","price":65.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bourriaud_-Nicholas.-Postproduction.-2003-FRONT-COVER.jpg?v=1782195507"},{"product_id":"aftershock-legacy-readymade-dickinson-roundell-invitation-2003","title":"RICHARD PRINCE, ELAINE STURTEVANT, CINDY SHERMAN et al.: Aftershock — The Legacy of the Readymade — Exhibition Invitation and Private-View Insert, Dickinson Roundell Inc., New York, 2003","description":"\u003cp\u003eExhibition invitation with private-view insert, Dickinson Roundell Inc., New York, 2003. Offset-printed three-panel folding invitation with separate translucent-paper private-view insert; 13 × 19.5 cm folded; 39.5 × 19 cm unfolded. Insert: 13 × 19.5 cm.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e good vintage condition; light handling and surface wear, minor edge and corner softening, and wear along the original folds. Insert remains present and in good condition.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eAftershock: The Legacy of the Readymade in Post-War and Contemporary American Art\u003c\/em\u003e, held 5 May–20 June 2003 at Dickinson Roundell Inc., 19 East 66th Street, New York, and curated by Henry Allsopp. Artists included Elaine Sturtevant, Bruce Nauman, Claes Oldenburg, Cindy Sherman, Richard Prince, Louise Lawler, Sherrie Levine, Robert Gober, Félix González-Torres, Jeff Koons, Joseph Kosuth, Jasper Johns and others.\u003c\/p\u003e\u003cp\u003eThe design places the exhibition title in fluorescent green over an image of the bicycle-wheel readymade, with the participating artists’ names arranged in a circular spiral. Inside, individual works are reproduced across the folding panels. The original translucent private-view insert completes the set and is particularly vulnerable to separation or loss.\u003c\/p\u003e\u003cp\u003eThe exhibition examined the readymade’s continued influence across appropriation, replication, consumer objects and conceptual practice. Its accompanying 125-page catalogue included essays by Francis M. Naumann and Thomas Girst; the complete invitation set appears considerably less available and more scarce.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Dickinson Roundell Inc.","offers":[{"title":"Default Title","offer_id":54133622735186,"sku":"AFTERSHOCK-DICKINSONROUNDELL-INV-2003","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Anderson_Robert.Dine_Jim.Gober_Robert.Gonzales-Torres_Felixetal.Aftershockinviteandhandout.2003.jpg?v=1785352450"}],"url":"https:\/\/thenewrare.com\/collections\/jeff-koons.oembed","provider":"The New Rare","version":"1.0","type":"link"}