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  • Balloon Dog (Red), Jeff Koons - CultureLabel
  • Balloon Dog (Red), Jeff Koons - CultureLabel
Balloon Dog (Red), Jeff Koons - CultureLabel
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Balloon Dog (Red), Jeff Koons - CultureLabel Balloon Dog (Red), Jeff Koons - CultureLabel

Jeff Koons

Balloon Dog (Red)

Art Wise

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Limited Edition Lithograph Print


"Balloon Dog (Red)" by Jeff Koons

Unsigned Offset Lithograph printed in 2012 from an edition size of 1000.

The overall size of the Offset Lithograph is 50.25 x 35.25 inches.

The condition of this piece has been graded as A-: Near Mint, very light signs of handling.


Also available framed - to request this please contact shopping@culturelabel.com


About the Print

Large exhibition poster depicting "Balloon Dog (Red)" by Jeff Koons, a piece from his "Celebration" series which was Initiated in 1994 and completed in 2000 with a total of five Balloon Dog Sculptures (Blue, Magenta, Yellow, Orange, Red), The series, celebrating childhood in a veritably baroque manner, was brought together for the first time in 2012 at the Beyeler Foundation in Basel, Switzerland.

About the Artist

American artist. He trained at Maryland Institute College of Art, Baltimore (BA 1976), and worked as a Wall Street commodities broker before embarking upon his career as an artist. In the 1980s he won international recognition as a radical exponent of Neo-Geo, an American movement concerned with appropriation and parody. Following the example of Pop artists of the 1960s, Koons used his work to reflect the commercial systems of the modern world. He also referred back to the Duchampian tradition, appropriating an art status to selected products. His vacuum cleaners encased in perspex (1980–81; see 1993 exh. cat., pls 5–9) were classified as monuments to sterility. His immaculate replicas of domestic products, advertisements, kitsch toys and models exercised an enthusiastic endorsement of unlimited consumption, unlike the veiled criticism of some work of the first generation of Pop artists. Koons perceived Western civilisation as a driven society, flattered by narcissistic images and with a voracious appetite for glamorous commodities. In his expressions of the ecstatic and the banal he did not hesitate to breach the borderlines of taste; in the body of work titled Made in Heaven (1989–91; see 1993 exh. cat., pls 48–65) he featured explicit sexual photographs and models of himself with his wife Ilona Staller (‘La Cicciolina'). Such works were naturally highly controversial.

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