Balloon Dog (Blue)
[SOUNDFX: Kids laughing]
Do you remember the first birthday party you went to? Or had?
Do you remember the games, the gifts, the cake?
Did you get a balloon?
Did your balloon make it home? Or did it [SOUNDFX: Wind noise] floaatt away.
Or did it [SOUNDFX] POP?!
[Normal tone, back in the room, reminiscing over] You know you couldn’t pop this giant balloon - even if you wanted to.
This sculpture is actually made of heavy stainless steel. It’s called Balloon Dog and it’s by Jeff Koons. Jeff wanted us to remember the joys of having a birthday party, so in 1994 he began a series of work called Celebration.
Balloon Dog is part of it. There are four other Balloon Dogs just like this one, but in different colors.
Balloons are symbols of childhood, from the time when we are tiny, so to see one remade so realistically at this size is delightful.
It’s so very big because Jeff wants to remind us just how important everyday events are, how special birthdays and celebrations can be.
In real life, balloons are small, silly, funny little things that we enjoy for a short while.
Now, here, we are in front of a giant, heavy, serious version that’s not going anywhere. This “balloon” is not floating away.
As part of Jeff Koons’s Celebration, an ongoing series of paintings and sculptures that memorialize the rituals, icons, and images surrounding birthdays, holidays, and other party occasions, Balloon Dog (Blue) may be the most imposing work. Using the recognizable form of a balloon twisted into the shape of a dog, Koons has frozen a moment in time, exaggerating both scale and material. Balloon Dog (Blue) is literal and abstract. When standing close to it, one’s own distorted reflection bends around smooth pert curves. The work is a collection of shapes, each segment alone does not look like part of a dog’s anatomy — in fact Koons often references human sexual anatomy — but taken as a whole Balloon Dog (Blue) is an aloof sentinel cloaked in nostalgia.
Jeff Koons emerged in the 1980s as an innovative sculptor of exquisitely crafted objects, which quickly became icons of art history, the primary example of which is Rabbit, 1986. Cast in highly polished stainless steel from an inflatable Easter bunny novelty, the sculpture’s mirror-like surfaces have the eerie effect of including the viewer in their cool reflections.
The Broad’s Koons collection is unrivaled globally and holds representative work from each stage of the artist’s diverse and ever-changing career. In its celebration of consumer goods and its questioning of the notion of “good taste,” Koons’s art has been critically received as an ironic comment on the decadence of the 1980s and of capitalist culture. Koons himself, however, posits a less cynical view, citing his relationship to his young son, transcendence, and the eternal resonance of beauty as motivating factors for his art.
In his Banality series, Koons created sculptures of dimensions and details monstrous and absurd. These works, like Michael Jackson and Bubbles, 1988, are both compelling and disturbing in their size and seductive porcelain surfaces. The dead white of Jackson’s skin and his glamorous pose with Bubbles in matching clothing invite a chilling range of questions about celebrity and image making.
Celebration, an ongoing Koons series of sixteen paintings and twenty sculptures, rejoices in the rituals and images surrounding birthdays, holidays, and other party occasions. Tulips, 1995–2004, is among the grandest and most technically complex objects in the series, providing a perfect illusion of balloon flowers, constructed of seamless and mirror-polished stainless steel. The work is considered a successor to Koons’s inflatable pieces of the late 1970s.
In order to visualize and represent the desire that often accompanies the advertising of consumer products, for Triple Hulk Elvis II, 2007, Koons culled images from his giant collection of photographs and advertisements. The multiple sources were collaged into conceptual schematics and subsequently painted in a super-realistic, glossy fashion. While often concealed and veiled by toys and lush color, Koons takes Elvis Presley as his primary inspiration.