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In the case of Terence Koh it is truly impossible to distinguish between the artist’s life and his work, about which much has been written. Koh, very intentionally, is the latest artist of scandal. A deliberate pop star, he has positioned himself as the heir to an uninhibited approach to the art market, exemplified first by Andy Warhol and Jeff Koons and then by the Young British Artists, who were championed by the same curator, Sir Norman Rosenthal, who organized the notorious exhibition Sensation, and by the same millionaire collector, Charles Saatchi. “I like collectors,” Koh has said, “thank you Charles.” [...]
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