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PRINT September 1992

Jutta Koether

SIMULTANEOUSLY A MASSIVE coup de main and an ostentatious display of generosity—even of love?—Jeff Koons’ 40-foot-high puppy of living flowers in the palace garden of Arolsen, thirty miles from Kassel, faces down the abundant speculation over his next career move. Koons’ last body of work was a collection of arguably or, rather, notoriously pornographic sculptures and photo pieces. Since their appearance, the always lurking question—part sympathetic, part spiteful—has , been “How will he top them?” He answers in Puppy, a sea of flowers—a work that is popular to the point of vulgarity.

When it became clear that he was not to be included in Documenta IX, press maestro Koons turned this slap to his advantage, leaving the public astonished by his survival instincts. Koons creates himself not just in the realm of theory, but as a living monster. He’s a hard-core coquette who loves little animals.

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