An Ode to "Swan Lake" by Jeff Koons

An Ode to "Swan Lake" by Jeff Koons

Seated Ballerina, commissioned by the Israel Museum in Jerusalem on the occasion of the Museum's 50th anniversary, reproduces the famous larger-than-life sculpture Seated Ballerina in mirror-polished stainless steel. Part of the series Antiquity, Seated Ballerina explores themes of beauty, fertility, love, and the connectivity in the artistic dialogue that spans the history of man. Jeff Koons has blended the concerns and methods of Pop, Conceptual, and the readymade with craft-making and popular culture to create his own unique iconography. Using iconography and specific materials with painstaking finishes he explores controversial and engaging themes such as sex and desire; race and gender; and celebrity, media, commerce, and fame.

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Known for his precise photo-realistic drawings, Robert Longo’s works border between representational and symbolic. His charcoal into thick-textured surfaces technique gives his velvety drawings deep, blackened expanses and sharply contrasting whites; his forms are at once representational and softly elusive.

“I always imagine that I want to make art that is going to kill you, whether it’s going to do it visually or physically, I’ll take either way.”

ROBERT LONGO

"Angel’s Wing” featuresthe artist’s signature velvety black background sharply contrasted by the white angel wings. Rendered with immense detail, the result is a sublime study of religion, culture and aesthetics.

Candida Höfer is known for her images of empty interiors of libraries, museums, palaces and theatres, focusing on the cultural spaces free from human presence. Part of the artist’s latest exhibition at Sean Kelly Gallery, Candida Höfer in Mexico, Teatro Degollado Guadalajara III expands her signature attention to Mexican Baroque interiors.

Spaces may or may not invite the image—if they do, they mostly do it with their spatial layers of time… It is then the image that takes the place of the space; the image in its own right."
CANDIDA HÖFER

The self-imposed subject restrictions evident in her project are both cultural and formal in nature. The Baroque interiors of the Mexican Teatro Degollado Guadalajara provide a “formal portrait of the society itself”.