Jeff Koons’s rocking horse rises in Rockefeller Plaza, Louise Bourgeois tapestries hang in Zürich, Mark Bradford finds inspiration in the work of Gustave Caillebotte, and more in this week’s roundup.
- Jeff Koons: A Retrospective opens this week at the Whitney Museum of American Art (New York, NY). Comprising almost 150 objects dating from 1978 to the present, this is the first solo show to nearly fill the Whitney’s Marcel Breuer building. Coinciding with the show is the installation of Koons’s monumental sculpture Split-Rocker, a 37-foot-high rocking horse covered in flowers, at Rockefeller Plaza.
- Louise Bourgeois L’araignée et les tapisseries is at Hauser & Wirth, Zürich (Switzerland) through July 26. “This is the first time that Bourgeois’s tapestry oeuvre has been brought together,” says the press release, “offering a new perspective on her late practice.”
- Mark Bradford: My Head Became a Rock is also at Hauser & Wirth, Zürich through July 26. For this show Bradford created a body of work based on the work of French artist Gustave Caillebotte. “Economic exchange and socio-politics are abstracted through a geometry that infuses the matrix of lines with notions of labour and class systems.” Closes July 26.
- Men in LA: Three Generations of Drawings, at The BOX Gallery (Los Angeles, CA), brings together the drawings of Naotaka Hiro, Benjamin Weissman and Paul McCarthy. The gallery is also exhibiting collaborative drawings by Weissman and McCarthy, made for the 2009 exhibition Quilting Sessions at the Zacheta National Gallery of Art in Poland. Closes July 5.
- Works by McCarthy and Yinka Shonibare MBE are included in The Human Factor at Hayward Galllery (London, UK). This group exhibition “surveys how artists over the past 25 years have reinvented figurative sculpture, looking back to earlier movements in art history and drawing on contemporary imagery.” Closes September 7.
- Richard Tuttle: A Print Retrospective will open at the Bowdoin College Museum of Art (Brunswick, ME) on June 28. Showcasing more than 100 works from the 1970s to the present, the selection demonstrates “how Tuttle reinvents printmaking with his experimental approach, raising intriguing questions about technique, materiality, and the nature of art itself.” Closes October 19.