I’ve always been interested in the idea of the new, but the new is really about communication, it’s about connection. It’s about being able to communicate with people and being able to share with them the excitement of what it is to be a human being and to be alive.
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"I want to create work that is universally appealing, that everyone can enjoy."
"I always try to make work that is visually striking and that grabs people's attention."
"I'm not interested in making things that are going to be in a museum for the next 500 years. I'm interested in making things that are going to be in people's homes and that people are going to enjoy."
"I always say that art is about a dialogue with the viewer. It's about a relationship."
"I'm very interested in the idea of the readymade, and how it can be transformed."
American contemporary artist whose Balloon Dog and Rabbit sculptures hold record sale prices for living artists; defines high-end commodified Pop. Closely associated with Damien Hirst (YBA-generation peer with similar production-line studio model) and Takashi Murakami (Superflat parallel from Japan). For an intellectual contrast, see Marina Abramović, Serbian-American performance artist — Abramović's body-on-the-line endurance work (The Artist Is Present, 2010) is the precise opposite of Koons's outsourced-fabrication, surface-shine commodification. Abramović's unmediated authorship vs Koons's factory production are the two cleanest poles of late-20th-century 'what is the artist for?' debate.
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