George Lois at MOMA/ Jeff Koons Rooftop at the MET
A bald bear of a guy in his '70's, art director George Lois can tell you a story for every cover of Esquire he did in the '60's. He doesn't have to. As exhibited at the Museum of Modern Art: Sonny Liston in a Santa hat, Andy Warhol drowning in a can of Campbell's tomato soup, Mohammed Ali with arrows in his body a la St. Sebastian, Roy Cohn with a halo over his head, a cemetery with John Kennedy, Robert Kennedy, and Martin Luther King, Jr. photos collaged over gravestones, writers Jean Genet, William S. Burroughs, Terry Southern and John Sack in Chicago--each one informs the historic moment, be it about race, anti-war, pop art, the McCarthy era of the 1950's. Overwhelming is the realization that we don't see magazine covers like these any more. We have instead, the top few movie icons that force us to pay attention to things that don't matter. What mattered in George Lois' time were ideas. And people bought Esquire simply to collect the excellent cover art. When did that stop? He says in his heavy Bronx brawl: “Ideas work and have worked from the time of the caveman.” 
Three pieces from Jeff Koons' Celebration series compete with the Manhattan skyline rooftop at The Metropolitan Museum of Art. In stainless steel to withstand the elements, Balloon Dog (Yellow) and Sacred Heart (Red/Gold) in primary color, and Coloring Book in vivid pastel rival the pale buds of spring in Central Park below. Last Monday, Jeff Koons, an artworld giant, fielded questions from foreign journalists in a gray, very smart, sharkskin suit from Gucci, finding it ironic that as an American he mostly shows in Europe and Asia. How fitting that he now is here high up at the MET where Sacred Heart with its resemblance to a giant candy engages in a dialogue with religious themes in medieval and early Catholic painting and sculpture housed below. And Balloon Dog resembling that done by a clown entertaining at children's parties can be seen to reference Greek and Roman myth. Eeyore of Coloring Book rises to meet the challenges posed by Pop where Roy Lichtenstein's sculpture was exhibited just a few seasons before. “The journey of art is acceptance,” said Koons addressing questions related to the seeming simplicity of his subject matter, “first of oneself and then others.”
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Posted by: SickleBitch | July 02, 2008 at 02:50 AM