Journal articles: 'Jeff Koons'

1

Glicenstein, Jérôme. "« Jeff Koons. La rétrospective »." Marges, no. 20 (March 1, 2015): 172–73. http://dx.doi.org/10.4000/marges.962.

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Kantor (a.k.a. Monty Cantsin), Istvan. "SUPREME GIFT—for Jeff Koons." Canadian Theatre Review 162 (April 2015): 8–9. http://dx.doi.org/10.3138/ctr.162.002.

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Depelsenaire, Yves. "Jeff Koons, une pratique sans valeur." La Cause Du Désir N° 99, no. 2 (2018): 154. http://dx.doi.org/10.3917/lcdd.099.0154.

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Stevens, Richard M. "Exhibition: Jeff Koons at the Ashmolean." British Journal of General Practice 69, no. 682 (April 25, 2019): 248. http://dx.doi.org/10.3399/bjgp19x702509.

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Wagner, Christiane. "Kitsch, reminiscências estéticas e Jeff Koons." Revista Visuais 2, no. 2 (September 24, 2016): 64–80. http://dx.doi.org/10.20396/visuais.v2i2.11948.

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É Kitsch, desde que desmedido quanto ao argumento emotivo na praxis cultural, pelas adaptações, ao fazer da arte um produto de consumo, que coincide com a sacralização da arte e conduz a estética, quer na literatura, na pintura ou na música, à reflexão sobre o Kitsch na atualidade. A este propósito, acrescenta-se à filosofia hegeliana as reflexões socioculturais de Theodor W. Adorno, Walter Benjamin e, as mais recentes, de Pierre Bourdieu, Niklas Luhmann e Konrad Paul Liessmann para as pesquisas em estética sobre o conceito Kitsch. E, ao complexo assunto, considera-se, sobretudo, a relação entre emoção e arte, quer a expressividade, o significado ou o ideal de liberdade associados ao que a arte sugere de mais atraente: a beleza e o seu reverso. O que indica ser oportuna a análise das formas pelas quais o Kitsch se manifesta, pelo estilo geralmente aceito, variável no tempo e pela experiência estética ao encontro da arte contemporânea.

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Domecq, Jean-Philippe. "Jeff Koons : on ne peut qu'approuver." Esprit Janvir, no. 1 (2015): 135. http://dx.doi.org/10.3917/espri.1501.0135.

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Forain, Guillaume. "Banalité et célébration : l’art de Jeff Koons." Cahiers philosophiques 144, no. 1 (2016): 102. http://dx.doi.org/10.3917/caph.144.0102.

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Park, Soo-Jung, and Su-Hyun Won. "A Study on the Narcissistic Symbolic Image in Jeff Koons’ Works." Korean Journal of Arts Therapy 19, no. 1 (May 31, 2019): 81–100. http://dx.doi.org/10.18253/kart.2019.19.1.05.

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Lee, Sun Jong. "A Study of Eroticism in Jeff Koons’ Works." Korean Society of Culture and Convergence 43, no. 7 (July 30, 2021): 957–72. http://dx.doi.org/10.33645/cnc.2021.07.43.7.957.

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Yang, Minsuk. "An Exploratory Study on Jeff Koons’ Kitsch Art." Journal of Humanities and Social sciences 21 12, no. 5 (October 31, 2021): 141–54. http://dx.doi.org/10.22143/hss21.12.5.10.

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Seddiki, Pirjo. "Rahat vai henki. Jeff Koons ja minareetin kutsu." Research in Arts and Education 2005, no. 3 (September 1, 2005): 22–34. http://dx.doi.org/10.54916/rae.118620.

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12

Choi, Mi Ae. "Color Characteristics Used in Public Sculptures of Jeff Koons." Europe Culture Arts Association 11, no. 1 (March 31, 2020): 99–112. http://dx.doi.org/10.26854/jeca.2020.11.1.99.

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Ki, Young Mi. "A Study on Convergence of Art and Brands, Art Collaboration of Jeff Koons." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 24, no. 4 (December 31, 2018): 17–27. http://dx.doi.org/10.18208/ksdc.2018.24.4.17.

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Sutterer, Moritz. "Paris Embraces Modern Art – But Not in Court: Opinion on the Cour d’Appel de Paris Decision – Jeff Koons v Franck Davidovici." GRUR International 71, no. 2 (October 29, 2021): 131–38. http://dx.doi.org/10.1093/grurint/ikab135.

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Abstract In February 2021 the Paris Court of Appeal (Cour d’appel de Paris) rendered a decision against the US artist Jeff Koons, holding that he had infringed copyright relating to an advertisement photography that was more than 30 years old. Jeff Koons is famous for his Neo-pop Appropriation art – kitsch for some, a provocative breach with the traditional notion of art for others. It was not the first time Koons has had to defend his work in court. The French decision is particularly interesting, however, as it shows a very narrow understanding of the copyright exceptions. It is an illustrative example of the issues resulting from CJEU’s approach in Pelham, Spiegel Online and Funke Medien, where the Court held that once the recognisability of original elements has been established, the only way out of the infringement leads through the formal exceptions and limitations of the InfoSoc Directive. Based on the decision, I will reflect on the openness of copyright for art-specific forms of referencing and in particular analyse the subject matter and scope of the parody exception and contrast it with less formal approaches to consider new creative elements. I will also analyse the question of applicable law in internet cases.

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Marx Estarque, Maya. "Confluencia e Hibridación entre Arte y Moda en el Proceso Creativo de creadores Contemporáneos." deSignis, no. 32 (January 1, 2020): 145–52. http://dx.doi.org/10.35659/designis.i32p145-152.

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Este texto trata sobre la conexión entre los procesos creativos de creadores como Vanessa Beecroft y Viktor & Rolf, así como la colaboración entre marcas como Louis Vuitton, Takashi Murakami y Jeff Koons en un contexto de con uencia e hibridación entre arte y moda en la actualidad.

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Neves, Pedro Pinheiro. "A vida sentimental das mercadorias: a estética da “fofura” e seus jogos de poder na arte de Jeff Koons." Galáxia (São Paulo), no. 38 (August 2018): 205–19. http://dx.doi.org/10.1590/1982-2554233779.

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Resumo Este artigo analisa algumas obras do artista Jeff Koons fazendo uso da categoria estética vernacular cute (fofo, adorável em inglês). Em suas esculturas representando bichinhos e brinquedos, Koons dá expressão formal para as contradições e ambiguidades do cute, de forma a explicitar os sentimentos ambivalentes e anseios que lastreiam a relação dos sujeitos consumidores-espectadores do capitalismo tardio com as mercadorias que os circundam. Pensar a mercadoria e o consumo – cultural, inclusive – a partir da estética da fofura nos ajuda, argumentamos, a melhor entender o próprio lugar da arte em um circuito globalizado e crescentemente dominado pela lógica mercadológica neoliberal. A obra de Koons, um dos artistas contemporâneos mais populares e financeiramente bem-sucedidos, é local privilegiado para observar as oscilações de poder no campo das artes visuais.

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Dufrêne, Thierry. "Une histoire de l’art cosmopolitique, d’Alberto Giacometti à Jeff Koons." Acta Historiae Artium 49, no. 1 (December 1, 2008): 37–44. http://dx.doi.org/10.1556/ahista.49.2008.1.5.

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Mackenbach, Johan P. "Jeff Koons and the celebration of banality: impressions from Oslo." European Journal of Public Health 15, no. 3 (June 1, 2005): 221. http://dx.doi.org/10.1093/eurpub/cki148.

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Blackwell, Clovis. "Sincerity and irony examined through the work of Jeff Koons." Visual Inquiry 1, no. 1 (August 24, 2011): 63–68. http://dx.doi.org/10.1386/vi.1.1.63_7.

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박나리, Lee Youn Hee, and 이윤미. "The Application of Jeff Koons' Works in Lounge Wear Design." Research Journal of the Costume Culture 17, no. 2 (April 2009): 270–82. http://dx.doi.org/10.29049/rjcc.2009.17.2.270.

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Shchetinina, Nataliya. "Appropriation of Images of Antiquity in the Work of Jeff Koons." Actual Problems of Theory and History of Art 5 (2015): 768–73. http://dx.doi.org/10.18688/aa155-8-85.

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AVŞAR KARABAŞ, Pelin. "POPÜLER KÜLTÜRÜN SANATA YANSIMASINDA YENİLİKÇİ YAKLAŞIMLARI İLE JEFF KOONS VE ES." Journal of Social Sciences 17, no. 17 (January 1, 2017): 101–13. http://dx.doi.org/10.16990/sobider.3934.

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Rosenberg, Capri. "Don’t Shoot the Messenger: Jeff Koons and the Aesthetics of Frivolity." International Journal of the Humanities: Annual Review 8, no. 11 (2011): 105–10. http://dx.doi.org/10.18848/1447-9508/cgp/v08i11/43056.

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WALKER, JOHN A. "LICHTENSTEIN: GIRLS BY RICHARD HAMILTON, JEFF KOONS, DOROTHY LICHTENSTEIN & RICHARD PRINCE." Art Book 16, no. 2 (May 2009): 42–43. http://dx.doi.org/10.1111/j.1467-8357.2009.01027_8.x.

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Perl, AnnMarie. "‘A more public arena’: Jeff Koons' Reinvention in the Midst of Reaganism." Art History 43, no. 3 (January 21, 2020): 474–508. http://dx.doi.org/10.1111/1467-8365.12491.

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DeLand. "A Fig Leaf for Jeff Koons: Pornography, Privacy, and “Made in Heaven”." Criticism 60, no. 3 (2018): 295. http://dx.doi.org/10.13110/criticism.60.3.0295.

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Schäfer, Martin Jörg. ""Fantasy Realism": Rainald Goetz, Jeff Koons, and the Ethics of Pop Art." Germanic Review: Literature, Culture, Theory 81, no. 3 (May 2006): 255–68. http://dx.doi.org/10.3200/gerr.81.3.255-268.

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Ko, Hae-Jong. "Der kritische Punkt künstlerischer Profanierung - Eine Studie über Rainald Goetz‘ Stück Jeff Koons." Deutsche Sprach- und Literaturwissenschaft 30, no. 3 (September 30, 2022): 85–104. http://dx.doi.org/10.24830/kgd.30.3.5.

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Lyubchenko, Irina. "What is Art?" Interactive Film & Media Journal 2, no. 3 (June 23, 2022): 174–90. http://dx.doi.org/10.32920/ifmj.v2i3.1532.

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This paper investigates non-fungible tokens, or NFTs, and examines their place within art historical canon. Crypto-art and crypto-collectibles have flooded digital markets, offering unique art. Recently, Beeple’s Everydays—The First 5000 Days, the first digital artwork fitted with a non-fungible token offered by the major auction house Christie’s, sold for $69,346,250 on March 11, 2021. It is the third most expensive artwork sold by a living artist, following Jeff Koon’s sculpture Rabbit (1986) and David Hockney’s painting Portrait of an Artist (Pool with Two Figures) (1972). While Jeff Koons and David Hockney are the artists, whose theoretical perspectives are well known and have a secured place in an art historical canon, Beeple’s work and works of other digital NFT artists have not been fully investigated to be positioned in relation to art history, seemingly existing in a theoretical vacuum. The absence of artistic statements that usually accompany artworks contributes to this effect. Is it possible to think of the 21st century NFT-backed digital artists as the avant-gardes, who, like their 20th -century predecessors, confronted and condemned the art historical tradition? Using the case study of Beeple’s Everydays, this paper proposes an answer to the puzzling question of how a mosaic of everyday sketches produced by “pooping something out in 45 minutes,” using Beeple’s own words, was claimed to be “the next chapter in art history.” Using historical and textual analyses, this essay provides a critical response to the recent digital artworld trends driven by the decentralized networks and currencies existing in fully digital ecosystems.

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Khabiri, Forough, and Zahra Rahbarnia. "Investigating the “Fair Use” in Contemporary Art in the Cases of Jeff Koons and Richard Prince." Kimiya-ye-Honar 10, no. 39 (September 1, 2021): 37–52. http://dx.doi.org/10.52547/kimiahonar.10.39.37.

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Sáez Pradas, Fernando. "Fantasías constructivas de la identidad narco a través de la estética. Una mirada relacional con el arte contemporáneo." Arte y Políticas de Identidad 26 (June 30, 2022): 12–28. http://dx.doi.org/10.6018/reapi.529971.

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In this article we silver the drift of an imaginary. Narratives on the narco aesthetic and its possibilities in relation to contemporary artistic practices.We start from Matisse’s utopia to approach the postmodern scenario proposed, almost a hundred years later, by artists who come from the mostextravagant kitsch and capitalist universe, such as Damien Hirst, Maurizio Cattelan or Jeff Koons, where opulence, luxury and money are articulated in aperverse and ironic speech. In this tour we pay attention to aspects of life such as architecture, fashion, music, cinema or television series produced by theNetflix platform. We highlight the importance of drug trafficker Pablo Escobar, an icon of eccentricity and power, and we particularly point out his HaciendaNapoles, a symbol of the Medellin cartel. On this estate, he created his own zoo where hippos have ended up as ready-mades, transnational symbols thatserve to produce new and exotic realities. Throughout the text we observe how crime and the illegal, in innumerable bizarre turns of postmodern history,are incorporated into the narrative and even into aesthetic theory. En este artículo plateamos la deriva de un imaginario. Narrativas sobre la estética narco y sus posibilidades en relación con las prácticas artísticascontemporáneas. Partimos de la utopía de Matisse para acercarnos al escenario posmoderno que proponen, casi cien años después, artistas queprovienen del universo kitsch y capitalista más extravagante, como Damien Hirst, Maurizio Cattelan o Jeff Koons, donde la opulencia, lujo y dinero searticulan en un perverso e irónico discurso. En este recorrido prestamos atención a aspectos de la vida como la arquitectura, la moda, la música, el cineo las series de televisión producidas por la plataforma Netflix. Destacamos la importancia del narcotraficante Pablo Escobar, icono de la excentricidady poder, y señalamos de manera especial su Hacienda Nápoles, símbolo del cartel de Medellín. En esta finca creó su propio zoológico donde hipopótamoshan acabado convertidos en ready-mades, en símbolos transnacionales que sirven para producir nuevas y exóticas realidades. A lo largo del textoobservamos como el delito y lo ilegal, en innumerables giros rocambolescos de la historia posmoderna, se incorporan a la narrativa e incluso a la teoríaestética.

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Abdulmawla, Wisam. "Contemporary Art on the Touchstone of Social Sciences: The Experience of the Artist Jeff Koons as a Model." Journal of Arts and Social Sciences [JASS] 7, no. 3 (December 1, 2016): 213. http://dx.doi.org/10.24200/jass.vol7iss3pp213-220.

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The current research aims to clarify the overlap of visual arts and contemporary different social sciences. It also aims to re-read the art work in a way to highlight the deep interaction of the recipient with the theme of the artwork in order to establish some art concepts which contribute to change and build a new visual culture for the society. This research also seeks to highlight the importance of today’s contemporary art as one of the fields of science. It dialogues many other areas and intersects with a lot of different sciences including the social sciences as a model for intermediary sciences. It shows the overlap between visual arts and different contemporary social sciences. It seeks, moreover, to re-read the artwork so as to highlight the deep interaction of the recipient with the society’s visual culture. The study tries to consider the idea of crossing borders between the various arts by opening onto each other. In other words, it wishes to emphasize the unique artistic pattern which had been considered to be confined within a unit of specialty with no partnership between one art and another or connection to the social sciences can transcend these borders. The research focuses on the experience of the artist Jeff Koons as a model of the complementary relationship between the practice of fine arts associated with many other fields of specialty, most importantly the social sciences. The research focuses on the experience of the artist as a model for the relationship of complementarily between fine practice and numerous other areas, notably the social sciences.

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O, Eun-seok, and Soo-sun Suk. "A Study on UI Design of AR Character as Public Art -Focused on AR Art Project of Snapchat and Jeff Koons-." Journal of Communication Design 64 (July 31, 2018): 221–31. http://dx.doi.org/10.25111/jcd.2018.64.17.

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Perl, Jeffrey M. "Beyond Xenophilia." Common Knowledge 26, no. 1 (January 1, 2020): 65–87. http://dx.doi.org/10.1215/0961754x-7899724.

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This essay, by the editor of Common Knowledge, responds to a piece by Dionigi Albera that, in turn, responds to Jeffrey Perl’s introduction, published in May 2017, to CK’s multipart symposium on xenophilia. Albera argues that the ambivalence that Perl observes in many instances of xenophilia needs genealogical explanation, and Albera turns for this purpose to analysis of the relationship between Aphrodite and Ares in Greco-Roman mythology. In the present piece, Perl extends that exploration in analysis of a series of images in which the gods of love and war, along with their illegimate children Eros and Phobos (or philia and phobia), are given comical and often vulgar treatment by artists ranging from Botticelli and Mantegna, in the fifteenth century; to Titian, Veronese, and Tintoretto, in the sixteenth; to Rubens, Jan Bruegel the Elder, and Poussin, in the seventeenth; to Lagrenée, in the eighteenth; to David and Guillemot, in the nineteenth; to Jeff Koons in our own day. Perl and Albera agree with these artists that the antithetical pair, Aphrodite and Ares, have a fully logical, if furtive relationship in mythology, iconography, and psychology. The idealization to which the comic images respond—that when warriors make love, there is no warfare—is laughed, again and again, out of court. But Perl’s concern, unlike Albera’s, is that this cynicism on the part of artists and advanced intellectuals means that, despite their ostensible preference for peace over conflict, they will always find cause to undermine every effort to make way for peace.

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Ochkovskaya, Marina S., Sergey V. Mkhitaryan, and Ekaterina P. Indichekova. "Influence of collaborations with visual art on luxury brand identity: Pilot study." Vestnik of Saint Petersburg University. Management 20, no. 1 (2021): 3–29. http://dx.doi.org/10.21638/11701/spbu08.2021.101.

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The article examines the collaborations of luxury brands with visual arts and its impact on the ingredients of brand identity using the example of Louis Vuitton. The purpose of this research is to investigate the impact of collaborations with visual art on luxury brand identity and find out what elements of identity are enhanced by collaborations. An online survey was conducted among luxury brand consumers. Both closed and open questions were included in the questionnaire. Totally 443 responses were received, and 295 of them were included in a representative sample of the study. The Louis Vuitton brand which systematically uses the collaborations with visual art and is one of the leaders in the application of brand artification was selected for this study. In the paper the main attention is focused on the Louis Vuitton products from the limited collections with the designs created in collaboration with the Japanese artists Takashi Murakami and Yayoi Kusama, and the American artist Jeff Koons. The modification in the Louis Vuitton brand identity caused by the collaborations was estimated on the basis of the Kapferer’s brand identity prism elements: physique, personality, culture, relationship, self-image, reflection. In accordance with the Kapferer’s brand identity prism, six hypotheses were formulated where three of them were fully confirmed and one hypothesis is partially verified. The research has demonstrated that the art collaborations with visual art enhance the intangible elements of the luxury brand identity — personality, culture and relationships but do not augment physique and self-image. This study has shown a partial impact of visual art collaboration on the luxury brand identity, however, the authors have not estimated the influence of other forms of art, for example, music. The impact of the other forms of arts may be considered in further research.

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Martínez Gorriarán, Carlos. "Política del arte y arte político: Sobre crítica del poder y autonomía estética." AusArt 6, no. 2 (January 28, 2019): 61–77. http://dx.doi.org/10.1387/ausart.20264.

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La conversión del arte en plataforma ideológica puede ser una moda que sacrifique la autonomía del arte a nuevas formas de heteronomía sin sentido. De ese modo la crítica y la resistencia se convierten en retórica y dependencia, como la integración del arte más rebelde en los grandes centros y eventos al servicio de la industria cultural y del turismo, y en el coleccionismo especulativo. La rebeldía estética se ha convertido en muchos casos en una impostura perfectamente integrada en la sociedad del espectáculo, incluyendo un arte kitsch que parodia la transgresión creativa. En este artículo revisaré algunos ejemplos de las dos actitudes más antagónicas: la conversión del arte en activismo político con Joseph Beuys, el body-art, y Ai Weiwei y el arte chino actual; en el polo contrario, la transgresión integrada de Jef Koons, Damien Hirst y la firma comercial Benetton.

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Quilici, Antoine. "Jeff Koons." Critique d’art, June 16, 2020. http://dx.doi.org/10.4000/critiquedart.62436.

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"Jeff Koons: a retrospective." Choice Reviews Online 52, no. 05 (December 18, 2014): 52–2354. http://dx.doi.org/10.5860/choice.186961.

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Gasparina, Jill. "Sir Norman Rosenthal, Jeff Koons." Critique d’art, June 1, 2016. http://dx.doi.org/10.4000/critiquedart.17668.

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Le Gall, Juliette. "Dans l’atelier : l’artiste photographié, d’Ingres à Jeff Koons." Critique d’art, November 20, 2017. http://dx.doi.org/10.4000/critiquedart.23480.

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"Factories of Banality." International Journal of Art, Culture, Design, and Technology 11, no. 1 (January 2022): 0. http://dx.doi.org/10.4018/ijacdt.301969.

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An examination of the omnipresent relations of power within the art world, focused on marketing strategies and the process of identification and differentiation in the perception of Jeffs Koons's artworks, reveals a complex interest in Jeff Koons's personality. It shows the relationships of Koons artworks with the economy and identifies them as products of big-business transactions. It also explains how the art world produces brand equity. Such artwork is chosen to serve as a symbol of opulence and as the locus of capital. Identification, differentiation, the elite, and art commodification are the main themes explored. This is a reflection on the state of the contemporary art world.

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Bulduk, Bulent. "NEW CONCEPTUALISM: JEFF KOONS, DAMIEN HIRST, SHERRIE LEVINE, CINDY SHERMAN." Ulakbilge Dergisi 5, no. 18 (November 30, 2017). http://dx.doi.org/10.7816/ulakbilge-05-18-01.

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Jimenez, Marc. "L’espace public 2.0 : des « Tulipes » de Jeff Koons au coronavirus." REVUE ASTASA, Hors-série (May 18, 2020). http://dx.doi.org/10.46608/astasa2020/art4.

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Dmitriev, Nikita. "Laurent de Sutter, Pornographie du contemporain : « Made in Heaven » de Jeff Koons." Critique d’art, November 23, 2018. http://dx.doi.org/10.4000/critiquedart.36949.

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"Jasper Johns to Jeff Koons: four decades of art from the Broad collections." Choice Reviews Online 39, no. 08 (April 1, 2002): 39–4370. http://dx.doi.org/10.5860/choice.39-4370.

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Belkessam, Emilie. "Marie Sisteron, L’Art et l’affect : étude comparative de Jeff Koons et de Marina Abramović." Critique d’art, February 10, 2022. http://dx.doi.org/10.4000/critiquedart.87801.

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Berger, Bruna. "Arte e publicidade na contemporaneidade: convergências." Cartema 5, no. 5 (December 28, 2016). http://dx.doi.org/10.52583/cartema.v5i5.237247.

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Este artigo apresenta uma análise dos trabalhos artísticos dos artistas Felix Gonzalez-Torres, Jeff Koons, Barbara Kruger e Gisele Beilgueman, a fim de compreender os processos de convergência entre a arte e a publicidade na contemporaneidade. Os trabalhos artísticos que permitem a convergência com outros campos, como o da publicidade, principalmente aqueles que ocorrem em espaços não institucionais, contribuem para o debate sobre a própria natureza artística. Consequentemente, percebe-se que o público não especializado tem acesso facilitado a essas obras, o que indica uma maior democratização da arte. Compreende-se também que, embora não exista uma fusão entre a arte e a publicidade, as fronteiras entre elas se apresentam menos distintas e hierarquizadas, ou seja, mais permeáveis.

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Cariou, Gwennaëlle. "Jeff Koons : La Rétrospective, musée national d’art moderne –Centre Pompidou, Paris, 26 novembre 2014-27 avril 2015." Transatlantica, no. 1 (April 8, 2015). http://dx.doi.org/10.4000/transatlantica.7293.

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Oliveira, Milena de. "Digitalização do movimento corporal pelo uso de novas mídias interativas na arte." Anagrama 12, no. 2 (November 13, 2018). http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2018.150422.

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O estudo tem como objetivo falar sobre mídias contemporâneas e interativas na arte, tomando como base a história da representação do movimento corporal por meio de alguns aspectos interativos vindos de técnicas tradicionais nas artes visuais. Para isso, foi realizada uma revisão bibliográfica de autores influentes no tema e o estudo é teórico-crítico, pois também analisa produções de artistas contemporâneos como, por exemplo, Jeff Koons, Celina Portella, Christin Marczinzik e Thi Binh Minh Nguyen. Então o intuito é tentar entender como atualmente os movimentos corporais reais dos participantes são reconhecidos virtualmente ao ponto de conectar, através das sensações, o ambiente real com o virtual. Por meio disso, percebe-se uma aproximação cada vez mais íntima entre o participante e as obras elaboradas em ambientes virtuais que alteram a percepção do entorno e lidam com exigências corporais diferentes das usuais.

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50

Barrett, Jonathan M. "The Most Lupine of the Wolves of Wall Street? Jeff Koons and Artistic Practice as Hedge Fund Capitalism." SSRN Electronic Journal, 2019. http://dx.doi.org/10.2139/ssrn.3489653.

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Journal articles on the topic 'Jeff Koons'

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