Michelle ThompsonThe world’s most expensive artist, currently showcasing his work at the Alhambra in Granada, describes his creations as deeply rooted in biological processes.
Jeff Koons, known for relying on teams and advanced technology to create his renowned balloon dogs and stainless-steel rabbits, has faced criticism for his hands-off production methods. Despite this, the world’s most expensive artist has firmly stated he will not use AI for his foundational work, saying, “I wouldn’t turn to AI to develop my art.”
As artificial intelligence becomes a hot topic in the art world, with its ability to mimic styles and create unique compositions, one might assume it aligns with Koons’s approach. However, speaking at the launch of Reflections, a joint exhibition with Pablo Picasso’s works at the Alhambra in Granada, Koons maintained his stance. His methods, which rely on collaboration and cutting-edge processes, even led Collector magazine to question last year: “Is Jeff Koons an actual artist?”
Jeff Koons has long embraced technological innovation in his art. His polished stainless steel Rabbit, crafted with intensive machining to resemble a balloon, sold for a record-breaking $91 million five years ago. Similarly, his 10-foot-tall Balloon Dog fetched $58 million in 2013. More recently, in February, 125 of his miniature lunar sculptures were sent into space aboard a SpaceX rocket, marking the first authorized artworks on the moon.
In his Gazing Ball series, where classic masterpieces were recreated with the addition of a blue glass bauble, Koons commissioned 350 glass spheres to select the finest 35 for the final pieces. This dedication to precision reflects his innovative spirit. Koons acknowledges having engaging discussions with experts in AI development, hinting at the potential for future projects.
Despite his openness to AI, it plays only a supplementary role in his creative process. “I enjoy reflecting on what holds meaning for me,” Koons explained, emphasizing that he uses AI merely as a tool for visualization. For example, AI helps him explore material possibilities—envisioning a table in wood, marble, or reflective steel—but not as a creator of his work. “At some point, I might integrate AI as an agent, but right now, I remain deeply rooted in biology.”
Koons shared an anecdote about a Nobel laureate describing life as “an animated chemical chain reaction,” a concept he finds profoundly meaningful. He emphasized the importance of the sensory, biological process in his work. “I don’t want to sit back and let technology take over,” he added, reaffirming his commitment to active involvement in his art.
A growing “Say No to AI Art” movement has surfaced, raising concerns over AI-generated images that borrow from existing artists’ works and styles without permission or credit. Critics also warn of the risk that AI might eventually replace human creators.
Jeff Koons, who turns 70 next month, remains unfazed by these concerns. Drawing a parallel to the invention of photography in the 19th century, which some feared would replace painting but instead inspired the shift toward abstraction, he sees potential benefits in AI.
“If AI becomes an autonomous agent, we can learn to collaborate with it in ways that enrich us,” Koons suggested. He believes AI could also prompt a reawakening of our underutilized senses. “We like to think we’re using our senses fully, but we’ve likely grown complacent. This could be an opportunity to enhance them.”
Koons views technological advancements as transformative forces. “History shows that powerful technologies shape the present and the future. I choose to embrace that change,” he added.
