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Jeff Koons

IF JEFF KOONS IS SEARCHING for a position in art that “lies beyond both critique and affirmation,” as Dorothea von Hantelmann has recently argued, his lifelong pursuit has just come to an end. In a classic tabloid profile of the artist, published this May to coincide with Koons’s two sprawling Manhattan shows at David Zwirner gallery and Gagosian Gallery, New York magazine attempted to polemicize the artist’s status and recall Life magazine’s famous 1949 Jackson Pollock spread with the headline “Jeff Koons Is the Most Successful American Artist Since Warhol: So What’s the Art World Got Against the Guy?” But what’s there to be against? Koons’s white pancake makeup and arch poses in the guise of famous classical statuary on the cover and pages that follow provided perhaps the best way for him to portray himself as his own kind of transcendent monument, above the fray of mercantile intrigue

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