Loved Roberta Smith’s review in the Times, but she seem to see this as a power play by Koons, and I think she isn’t seeing the big picture. This is Gagosian and Zwirner on some level working to together. It’s the first step in Gagosian and Zwirner becoming the Gagosian-Zwirner Gallery, where they own everything in Chelsea that isn’t a condo and take on the Whitney in a rivalry of inexplicably bad museum shows.
Also, the blue globes on the white Greco-Roman statues aren’t bad. They feel as if Koons has willed a John Baldessari dot picture to life. But in both shows, it’s hard not to feel that the work is just bragging on the capital or backing that enables Koons to produce giant sculptures, which on some level is clearly part of Koons’s charm as an artist. It’s just that after making a billboard of yourself having sex with your porn-star wife, building a giant sculpture of a dog out of flowers in Rockefeller Center and getting to put on a show at Versailles, some how his giant works at Gagosian and Zwirner’s giant space seems awfully small and forgettable.
Through Jun. 29th