Jeff Koons's Rabbit was conceptualized in 1986, inclusive of his Statuary Collection, when he first had the idea of grabbing this inflatable, commercialized toy off a store shelf. The stainless steel assemblage includes the bunny which is materialized through an industrial casting process followed by an extremely thorough polishing job to finish. The Rabbit and it's progression into the art world is seen fitting of Koons's contemporary style (which is often thought of as a post-modern style). Koons's work is also known for being associated with Pop art and consumerism.
Due to the Rabbit's industrial and commercial nature, the work has become highly acclaimed and controversial by differing critics. Koons's reasons for creating the artwork are numerous, however it can be reasoned that modernism, industrialism, consumerism, his background, style, and quest for a worldly understanding of art has greatly influenced his decision to create Rabbit. Before we talk about any underlying meaning behind the sculpture, we must analyze the technical aspects of the work.
[...] Using the original idea of an inflatable store bought toy, Koons turned his Rabbit into a work of art which resembles a playful reflective Mylar balloon (Museum of Contemporary Art Chicago). He uses visual elements of implied shapes, reflective light, color, and texture (or the absence of texture) to give the Rabbit its unique visual appeal. Koon's piece utilizes the design principles of a near symmetrical balance, and scale. His medium of choice is stainless steel which gives the Rabbit a deceiving lightweight look. [...]
[...] Plato would be accepting of Jeff Koons and his creation of his Rabbit because the artwork was created with a vision in mind that reflected Koons personality. Koons wanted to create something that would bring to attention the foolishness of luxurious consumerism and the Rabbit portrayed that. Since Koons was focused and direct, Plato views him as a worthwhile artist who uses (Koons's Rabbit) to achieve healthy aim. Augustine talks about that still are relevant to artists in today's modern world. [...]
[...] Jeff Koons has over 100 artists at work under his direction (Kennedy). This screams the word “industry” and puts the image of workers in a factory in one's mind. Perhaps the reason why Koons leads so many artists is due to his background selling mutual funds and stocks when he worked at First Investors Corporation. In fact, much of his early funding for creating artwork came from his employment as an investor (Guggenheim Art Museum). This career in the business world is hinted at in some of Koons's artwork, such as the Rabbit. [...]
[...] Some say that this label is correct, since does use industrial methods of fabrication to make objects that are hard to distinguish from commercial products” (Johnson). He followed the example of other Pop artists, using his creations as a reflection of the commercial order in our neoteric world. This label of being a artist is relevant because it connects Koons to the world he lives in. More specifically, He connects to the art world by broadening his horizon and collecting his own art. Jeff Koons art collection is very personal. [...]
[...] “Jeff Koons' ‘Rabbit,' the Brain, and Postmodern Art.” Psychology Today 25 June 2010. Web July 2013. This magazine takes a different psychological approach at analyzing Jeff Koons' Rabbit. It also describes the sculpture which I will use to enhance my own thinking and analysis. Saltz, Jerry. Dark Side of The Rabbit: Notes on a Sculpture by Jeff Koons.” Arts Magazine Feb: 26- Art & Architecture Complete. Web July 2013. This article describes a different approach of the Rabbit by Jeff Koons. [...]
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