I think art teaches us how to feel, what our parameters can be, what sensations can be like; it makes you more engaged with life.
— Jeff Koons
I realised that people respond to banal things. They don't accept their own history, not participating in acceptance within their own being.
It's not about finding relevance or perfection or imperfection in objects, but it's that you can accept yourself and then go out and accept others.
Pretty mundane closet, but a lot of ties. And I tend not to throw anything out, so I have a lot of clothes from all times from my life. I can be a little sentimental with things like that.
I think you always, as an artist, feel like you would like to be more and more specific about your intent and your interests.
I believe that art has been a vehicle for me that's been about enlightenment and expanding my own parameters, to give me courage to exercise the freedom that I have in life.
If I physically made every work myself, I would get only one or two paintings done a year, if that.
If I try to articulate every little detail in a drawing, it would be like missing the forest for the trees, so it's just about getting the outline of the forest.
Art is about profundity. It's about connecting to everything that it means to be alive, but you have to act.
I don't believe that artists really are interested in money. That's not the motivation for art.
I always like to believe that my work is about the expansion of the possibilities of the viewer. So if you have a sense of a heightened situation where there's an excitement, a physical excitement and an intellectual stimulation, there's just this sense of expansion. Because that's where the art happens. Inside the viewer.
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
As an artist, I've always wanted to participate in the dialogue of art with other artists.
My favorite activity is to be with my family.
I always liked Disney films. To this day I think 'Bambi' is great.
I was trying to make art that my son could look on in the future and would realize I was thinking about him very much during these times... that he can look and see my dad's thinking about me, but to also embed in these things something that is bigger than all of us.
I'm always working. If I'm not in my studio I become quite nervous.
I would think that to people like my father, and the people of his generation, Popeye is like a male priapist. So if you think in ancient terms, he would have a harem, a symbol of male energy.
I try to educate people about materialism through my work. I try to show them real visual luxury.
Once you trust in yourself, you automatically want to go outside of yourself.
I like to look at everything and appreciate seeing the different things that have meaning to people.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
Every day I wake up and I really try to pinch myself to take advantage of today and to use that freedom of gesture to do what I really like to do.
I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.
I like my drawings to be direct. I don't generally work on them for too long, but that doesn't mean that they are not works in their own right.
For me, art really starts with acceptance, self trust. Wherever you come to with art, it's perfect. You don't have to come with anything. What you bring to something is the art. That's where it's found. It's found within you.
I think artists are always investigating how to have an economic, political platform. At one time, artists were supported by the Church. Then they were supported also by the state.
I use printers to make prints of the images that I am creating. And I try to have that surface kind of replicated in the painting.
From the time that I was a child, I loved interacting with people. I would go around door-to-door and sell candies and gift-wrapping paper, and it was a great way to interact with people and communicate with people.
The first piece I ever collected was a Roy Lichtenstein: a sculpture called 'Surrealist Head II'. There was a waiting list. I remember Steve Martin wanted one, and I wanted one. I got the 'Surrealist Head', and I was thrilled.
I'd have to say I've become more aware of my communal responsibility.
Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.
The Whitney is a museum that has a great rapport with younger artists and the community.
Art was something I could do better. It gave me a sense of self.
One of the reasons I work with technology the way I do is that I can really be assured that the vision I have from the outset is what will be at the end. And that that vision isn't altered through the process.
I try to make pieces that are durable. One of the reasons that I work in steel is durability.
Feelings are at the basis of all ideas. First you have feelings, and then, through those sensations, it develops into ideas.
A lot of times, my work is looked at very much on the surface. It's very easy to just want to put something in a box - to say, 'Oh, since this work deals with surface desires at times, this is about consumerism.' And of course, the base of the work is... not about economics at all.
A lot of my work is about sales. And it was about being independent from the art market.
I'm in deep in everything, every moment of the day. I create the systems and oversee every aspect of the execution. Every mark on a sculpture and every brush-stroke on a painting is in a controlled situation, exactly as they'd be if I'd have done them myself.
When you have an idea for a work and when you've finished your model for it, for the artist it's almost complete, in a way. But then bringing it to the finish is really something you do for the audience. It is always exciting.
If you have an idea, you have to move on it, to make a gesture. Drawing is an immediate way of articulating that idea - of making a gesture that is both physical and intellectual.
Art's a very metaphysical activity. It's something that enriches the parameters of your life, the possibilities of being, and you touch transcendence and you change your life. And you want to change the life of others, too. That's why people are involved with art.
Even in making objects, as soon as you start to get the feeling that some form of craft is coming into place, you realize that everything is wrong. Because craft is really just a fetish. It is wasted energy. It's about the object, some space which has nothing to do with the human.
There are certain artworks that I respond to, artists that I respond to. It's an intellectual reaction but it's also a biological reaction. And the excitement that the work can generate - how it makes you feel about not only your intellectual possibilities but your physical possibilities in this world. How it feels to be alive!
I produce a lot of my artwork in Germany.
I enjoy all mediums, and I have to say, music is the medium that first made me understand how powerful art could be.
I spend much more time looking at art history and at different references to art than I do at actual objects.
I'm interested in power.
I remember being an art student and going to the Whitney in 1974 to see the exhibition of Jim Nutt, the Chicago imagist. It was then I transferred to school in Chicago, all because of that show.
