A Quote by Jeff Koons

I produce a lot of my artwork in Germany. — © Jeff Koons
I produce a lot of my artwork in Germany.
Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
I can say to the German people that the United States has been good for Germany. Has looked out for Germany. Has provided security for Germany. Has helped rebuilt Germany. And unify Germany.
Germany has a lot of solar power. In fact, in 2005, some 55 or 57 percent of worldwide installations were photovoltaics in Germany. That's 57 percent of all worldwide solar photovoltaics. Because of the high feed-in tariff, they have a way of allowing you to produce electricity and ship it into the grid at very high prices.
In a sense, the artwork is the most important thing in getting somebody to buy a book. The person probably won't buy a book if he doesn't like the artwork. Once you buy it for the artwork, you hope that the story will also be good.
The real art is in the street, is making the artwork, and for that you have to involve people. The action is actually the artwork.
Look at Germany where 20 percent of the labor force is in manufacturing compared to about 8 percent in the United States. Germany pays a lot more conscious attention at the level of the federal government to attracting and keeping manufacturers in Germany. So this is something that other countries do that the United States has not historically done.
I grew up in Germany for a little while, and all my German friends said that Seattle, weather and energy-wise, is a lot like West Germany. It's true.
No matter how good a story is, if you're at a newsstand and you see a lot of comic books, you don't know how good the story is unless you read it. But you can spot the artwork instantly, and you know whether you like the artwork, whether it grabs you or not.
I begin by imagining an artwork verbally. I try to describe in writing what the project is, what it is trying to do. I need to understand the artwork without giving it a specific materiality or solid form.
I feel German, that's for sure. I grew up in Germany, I went to school in Germany and most of my friends are there. I play for Germany.
I'm third generation. I was born in Germany, grew up in Germany, and many of my friends are German. I love playing for Germany. I'm proud I can play for the national team.
Artwork operates on two different levels: On one level there's artwork as a mode of expressivity, and then there's the other side, where the image is a construction that is meant to engage in a discursive field in order to preform a particular function.
Artwork operates on two different levels: On one level, there's artwork as a mode of expressivity, and then there's the other side, where the image is a construction that is meant to engage in a discursive field in order to perform a particular function.
If I produce a 450-pound Bengal tiger, it's going to create a lot more wonder than if I produce a rabbit.
Human relations tend to be more difficult when you're dealing with someone who weighs 30 kilograms more than you do. That's when you worry about whether a well-meaning gesture could produce complications. We have no problems with countries like Madagascar or Bolivia, for example. But Germany is our neighbor and we have a shared past. Besides, Germany is powerful and ambitious and more than four times as large as we are. It makes complete sense that we would act cautiously. It's simply Realpolitik.
We'd accept Germany either allowing all migrants in or not allowing any in. But whatever Germany decides should only apply to Germany.
This site uses cookies to ensure you get the best experience. More info...
Got it!