Artist page 
Jeff Koons
Hulk (Yoke)
2004 – 2014
Featured Work
Jeff Koons
Hulk (Yoke), 2004 - 2014
Polychromed bronze, wood, stainless steel, and live flowering plants
70 1/2 x 72 7/8 x 26 inches (179.1 x 185.1 x 66 cm)

American artist Jeff Koons (b. 1955) is widely regarded for his bold paintings and monumental sculptures that hold a mirror up to contemporary culture. Using the photorealistic and commercial aesthetic familiar from an earlier generation of Pop artists, Koons has generated his own universally recognizable style that frequently comprises smooth, highly reflective surfaces and bright, saturated colors. Koons typically works in series, tapping into subject matter from popular culture and art history that is frequently reminiscent of childhood in order to empower the viewer towards achieving a state of personal transcendence. 

The present work belongs to a Koons's "Hulk Elvis" series—a body of paintings and sculptures begun in 2004, some of which depict The Incredible Hulk, a character first introduced in a 1962 comic book. Koons describes the Hulk Elvis figures as being also inspired by the guardian gods of Eastern philosophy, and as such they are meant to convey tremendous power and testosterone. Made from polychrome bronze, Hulk (Yoke) depicts the superhero in a stereotypical macho pose with his legs apart, hands tightened in fists, and muscles flexed, as though ready for a confrontation or battle. Despite the solidity of the material, the figure appears inflated, with minute creases and folds creating a trompe l'oeil effect that heightens its hyper-realistic appearance. Based on a blow-up toy, anatomical features have been outlined with paint rather than carved, juxtaposing flatness and volume. The figure carries a yoke across his shoulders with buckets of live flowers hanging by a chain from each side. This series marks the first time that Koons has included live flowers as part of indoor sculptures. Their ephemeral delicacy provide a stark contrast to the aggressive demonstration of power by the Hulk figure. 

Koons notes on the tension implicit in his Hulk figures: "I do think that there are many polarities coexisting in a work of art—the more it emulates life, the more real it is. The Hulk is like a guardian god. For these Hulks to have the ability to be a guardian, they have to be able to protect, and to protect means to maintain and shelter and preserve. But at the same time it means they have to have to ability for violence, to be able to withstand any pressure....[T]hat type of tension is part of our day-to-day animal existence, part of what it means to be a human and alive and to be able to survive and to depend on instinct and stay in contact with feelings."¹

¹ Hans Ulrich Obrist, "Interview with Jeff Koons," in Jeff Koons: Hulk Elvis. Exh. cat. (New York: Rizzoli, 2009), p. 126.

Jeff Koons: A Retrospective
2014 – 2015
The artist’s first major retrospective in New York organized by the Whitney Museum of American Art
Jeff Koons
Installation view of Jeff Koons: A Retrospective at the Whitney Museum of American Art in New York (2014)
Jeff Koons
Installation view of Jeff Koons: A Retrospective​ at the Whitney Museum of American Art in New York (2014)
Jeff Koons
Installation view of Jeff Koons: A Retrospective​ at the Whitney Museum of American Art in New York (2014)
Jeff Koons
Installation view of Jeff Koons: A Retrospective at the Whitney Museum of American Art in New York (2014)

Jeff Koons: A Retrospective, which presented almost 150 works from 1978-2014 at the Whitney Museum of American Art, was the most comprehensive exhibition to date of the artist's groundbreaking practice, and his first major museum survey in New York. The exhibition was also the largest ever devoted to a single artist at the Whitney, and the final show to be held at the museum's historic Madison Avenue location prior to its move to the Meatpacking District in 2015. Organized by Scott Rothkopf, Curator and Associate Director of Programs at the Whitney Museum, the exhibition traveled to the Centre Georges Pompidou in Paris and the Guggenheim Museum in Bilbao in 2014-2015.

By reconstituting all of Koons's most iconic works and significant series in a chronological narrative, the retrospective allowed visitors to understand his remarkably diverse output as a multifaceted whole. "He's a marvelous artist," said Peter Schjeldahl in The New Yorker, "a master with formidable aesthetic intelligence and a very great deal of nerve." Writing in The New York Times, Roberta Smith described the exhibition as "lucid, challenging, [and] brilliantly installed."

A fully illustrated publication accompanying the exhibition includes texts by Scott Rothkopf, Antonio Damasio, Jeffrey Deitch, Isabelle Graw, Achim Hochdörfer, Michelle Kuo, Rachel Kushner, Pamela M. Lee, Alexander Nagel, and James Surowiecki. Also included are preparatory sketches and plans for selected works, as well as installation photographs that shed light on the artist's process and development. Published by the Whitney Museum of American Art

Jeff Koons: Gazing Ball
2014
A publication created in collaboration with the artist to accompany his first solo exhibition with the gallery
Jeff Koons
Gazing Ball
Jeff Koons
Gazing Ball
Jeff Koons
Gazing Ball

Gazing Ball was published on the occasion of the artist's first solo exhibition at David Zwirner. Held in New York in 2013, the show marked the international debut of the Gazing Ball series.

In this body of work, large plaster sculptures modeled after iconic works from the Greco-Roman era and quotidian objects such as garden ornaments are each anchored by a blue "gazing ball" of hand-blown glass. These are conceptually derived from the mirrored ornaments of the kind seen on suburban lawns, including those of Koons's childhood hometown in rural Pennsylvania.

Created in close collaboration with the artist, this fully illustrated publication echoes the classic design of a Picasso catalogue from 1970 admired by Koons, and features an essay by Francesco Bonami. "While all of the sculptures are grounded in their own distinct narratives, derived from art history and suburban towns," Bonami writes, "the seemingly fragile and delicate gazing ball establishes that sense of uncertain equilibrium that exists between history and fantasy, magic and materiality, mass culture and exclusive beauty."

Published by David Zwirner Books

On November 5, Zwirner & Wirth (32 East 69th Street) and David Zwirner (519 West 19th Street) will present a two-part exhibition that aims to provide a focused overview of the Minimal and Conceptual artistic practices that emerged in Europe in the 1960s and 70s. The artists on view include Christo, Hanne Darboven, Jan Dibbets, Lucio Fontana, Michael Gitlin, Erwin Heerich, Yves Klein, Gary Kuehn, Piero Manzoni, Mario Merz, Wolfgang Nestler, Giulio Paolini, Michelangelo Pistoletto, Klaus Rinke, Ulrich Rückriem, Sarkis, Franz Erhard Walther, and others.

 

The exhibition will comprise works from the collection of Helga and Walther Lauffs, one of Europe's most important private collections of 20th century post-war art. Between 1968 and 1975, under the guidance of curator Paul Wember (who was known for the visionary program of contemporary art that he developed as Director of the Kaiser Wilhelm Museum and Museum Haus Lange, Krefeld), the Lauffs put together a broad selection of work that represents the nexus of European and American artistic sensibilities of the postwar era. While the collection as a whole encompasses work that ranges in scope (from Assemblage, Pop art, Arte Povera, Minimalism, to Post-Minimalism, Process, and Conceptual art), this exhibition will focus on works that exemplify a specifically European perspective on Minimal and Conceptual movements of the 1960s and 70s, offering a selection of works that have rarely been shown outside of Germany, where they were on long-term loan at the Kaiser Wilhelm Museum, Krefeld.

 

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For more information about available works contact inquiries@davidzwirner.com

Curators 
Layout 

On January 12, 2010, Haiti–the poorest country in the Western Hemisphere–was struck by a catastrophic earthquake that took nearly 230,000 lives, injured over 300,000 people, and left over a million homeless and displaced, according to reports from the United Nations and USAID (United States Agency for International Development). Even now, twenty months later, widespread devastation remains.

 

In early 2011, actor and director Ben Stiller joined together with gallerist and art dealer David Zwirner to organize Artists for Haiti (artistsforhaiti.com), a major evening art auction to be held at Christie’s in New York on Thursday, September 22 at 7 PM. Artists for Haiti, a nonprofit 501(c)(3) charitable organization, joins in the much needed humanitarian effort to raise significant funds for children's education and health programs. 100% of the proceeds from this sale will go directly to support nonprofits and NGOs that are already performing extraordinary work on the ground in Haiti, including: Architecture for Humanity, Artists for Peace and Justice, Ciné Institute, Grameen Creative Lab, J/P HRO, Partners In Health, and The Stiller Foundation, among others. Prior to the auction, all works will be on view at David Zwirner (September 6 – 14) and at Christie's (September 17 – 20).

 

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For more information about available works contact inquiries@davidzwirner.com

Layout 
Location 

David Zwirner is pleased to present Gazing Ball, the gallery's inaugural exhibition with Jeff Koons. On view at 525 and 533 West 19th Street, this major show of sculptures marks the world debut of a new series by the artist. It is his first New York gallery solo exhibition of new work in a decade, and the first solo presentation of his work in the city since On the Roof at The Metropolitan Museum of Art in 2008.

 

Gazing Ball takes its name from the mirrored spherical ornaments frequently found on lawns, gardens, and patios around Koons's childhood home in Pennsylvania. Their unique visual qualities allow viewers to see around corners while absorbing them and their entire surroundings within one image. Koons has made use of highly reflective curved surfaces in his sculptures from the mid-1980s onwards, and the gazing balls can be seen to echo the consummate attention to detail and materiality found throughout his oeuvre.

 

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For more information about available works contact inquiries@davidzwirner.com

Layout 
Jeff Koons
Gazing Ball (Snowman), 2013
Plaster and glass
90 3/16 x 55 15/16 x 44 7/16 inches (229.1 x 142.1 x 112.9 cm) Pedestal: 10 x 49 5/8 x 50 1/8 inches (25.4 x 126.1 x 127.3 cm)
Jeff Koons
Gazing Ball (Diana), 2013
Plaster and glass
68 7/8 x 31 3/4 x 40 3/8 inches (174.9 x 80.6 x 102.6 cm) Pedestal: 8 x 35 x 31 inches (20.3 x 88.9 x 78.7 cm)
Location 

David Zwirner is pleased to present an exhibition of work that examines the 1980s through the lens of the Cologne and New York art scenes of the period. Spanning the gallery's exhibition spaces at 525 and 533 West 19th Street and 537 West 20th Street, the exhibition will include Werner Büttner, George Condo, Walter Dahn, Jiri Georg Dokoupil, Peter Fischli/David Weiss, Günther Förg, Robert Gober, Georg Herold, Jenny Holzer, Mike Kelley, Martin Kippenberger, Jeff Koons, Barbara Kruger, Sherrie Levine, Albert Oehlen, Raymond Pettibon, Richard Prince, Cindy Sherman, Rosemarie Trockel, Franz West, and Christopher Wool.

 

The contemporary art that was created and presented in New York and Cologne during the 1980s shaped a certain creative discourse between artists, curators, and gallerists on both sides of the Atlantic. This exhibition proposes an examination of this dialogue by focusing on the international artists who showed in both New York and Cologne between 1984 and 1989 and the key gallery and museum exhibitions of the period that took place in both cities.

 

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For more information about available works contact inquiries@davidzwirner.com

Layout 
Jeff Koons
Ushering in Banality, 1988
Polychromed wood
38 x 66 x 31 inches (96.5 x 167.6 x 78.7 cm)
Franz West
Selbiges (The Thing Itself), 1987
Iron, wood, papier-mâché, polyester, and oil paint
65 1/4 x 95 x 11 3/4 inches (165.7 x 241.3 x 29.8 cm)
Raymond Pettibon
No Title (CCCP Sputnik cosmo...), 1990
Acrylic on panel
26 x 24 1/8 inches (66 x 61.3 cm)
Cindy Sherman
Untitled #180, 1987
Set of two (2) chromogenic color prints
Overall: 94 1/4 x 128 1/2 inches (239.4 x 326.4 cm) Each: 94 1/4 x 64 1/4 inches (239.4 x 163.2 cm)
Peter Fischli/David Weiss
Masturbine, 1984
Gelatin silver print
11 7/8 x 15 3/4 inches (30 x 40 cm)
Barbara Kruger
Untitled (I Shop Therefore I Am), 1987
Photographic silkscreen on vinyl
111 5/8 x 113 1/4 inches (283.5 x 287.7 cm)
Sherrie Levine
Untitled (Checks: 6), 1986
Casein and wax on mahogany
24 1/8 x 20 inches (61.3 x 50.8 cm)
Robert Gober
Untitled, 1984-1988
Plaster, wire, lath, wood, and semi-gloss enamel paint
28 x 29 x 24 inches (71.1 x 73.7 x 61 cm)

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