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An examination of a work that captures the spirit of the 1980scommodification, seduction, and political inactivity.In Jeff Koons's One Ball Total Equilibrium Tank (1985), a Spalding basketball floats in the center of a glass tank that stands on a fourlegged black metal structure. It has been called one of the defining works of the 1980sbut also described (by such critics as Craig Owens, Rosalind Krauss, and Hal Foster) as an endgame, misleading, and repulsive. The work presents what the artist called the ultimate state of beingneither death nor life but the absence of change. It captured a spirit of the time, characterized by commodification, seduction, and political inactivity. Its stillness embodied the opposite of social revolution. But the total equilibrium of the work is actually temporary. For purely physical reasons, the equilibrium is lost every six months and must be reset.In this extended essay on Koons's famous work, Michael Archer puts One Ball Total Equilibrium Tank in an art historical framework, describing its initial exhibition at International With Monument in New York and related issues of media, commercialism, and class. He discusses the wider context of the 1980s art world, in which a renewed attention to painting practices met the legacy of Pop and appropriation artsetting the stage for the negative critical reception Koons's artwork first received. Archer goes on to consider sport as celebritymaker and industry; the physical science of equilibrium; and the implications of the fact that the equilibrium of One Ball Total Equilibrium Tank is indeed totalbut temporary.
⚠️ WARNING (California Proposition 65):
This product may contain chemicals known to the State of California to cause cancer,
birth defects, or other reproductive harm.
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