Carol Bove: Ten Hours
November 1–December 14, 2019
David Zwirner is pleased to present new sculptures by American artist Carol Bove (b. 1971) at the gallery’s Hong Kong location. Spanning two floors, this exhibition marks the New York–based artist’s fourth solo presentation with the gallery and her first in Asia. The exhibition follows her participation in this year’s Venice Biennale, which featured a focused selection of recent work, and a two-person exhibition currently on view at the San Francisco Museum of Modern Art.
Known for works that incorporate found and constructed elements with a unique formal, technical, and conceptual inventiveness, Bove stands as one of the foremost contemporary artists working today; her work has consistently challenged and expanded the possibilities of formal abstraction. As Johanna Burton notes in the accompanying exhibition catalogue, “The artist mines the expressive potential of materials and encourages different narrative events to emerge… Her works carry historical references and the history of the material themselves, yet her output is arrestingly singular.”
For this exhibition, Bove expands upon her ongoing series of “collage sculptures,” compositions of various types of steel, begun in 2016. These works are characterized by square steel tubing that has been crushed and manipulated, painted in vibrant color, and variously combined with found pieces of scrap metal and, often, a smooth, highly polished steel disk. Playing with surface texture and pushing the limits of steel’s physicality, the artist’s new work continues her exploration of form and process, including folding and crushing steel into more complex compositions and rendering the material with an almost fabric- or clay-like, supple finish.
Image: Installation view, Carol Bove: Ten Hours, David Zwirner, Hong Kong, 2019
May 11– November 24, 2019
Njideka Akunyili Crosby, Carol Bove, and Stan Douglas are included in the 58th International Art Exhibition – La Biennale di Venezia. Curated by Ralph Rugoff, Director of the Hayward Gallery in London, the exhibition is titled May You Live in Interesting Times. "In a speech given in the late 1930s," Rogoff states, "British MP Sir Austen Chamberlain invoked an ancient Chinese curse that he had learned of from a British diplomat who had served in Asia, and which took the curious form of saying, 'May you live in interesting times.' 'There is no doubt that the curse has fallen on us,' Chamberlain observed. 'We move from one crisis to another. We suffer one disturbance and shock after another.' This summary sounds uncannily familiar today as the news cycle spins from crisis to crisis. Yet at a moment when the digital dissemination of fake news and 'alternative facts' is corroding political discourse and the trust on which it depends, it is worth pausing whenever possible to reassess our terms of reference. In this case it turns out that there never was any such 'ancient Chinese curse,' despite the fact that Western politicians have made reference to it in speeches for over a hundred years. It is an ersatz cultural relic, and yet for all its fictional status it has had real rhetorical effects in significant public exchanges. At once suspect and rich in meaning, this kind of uncertain artefact suggests potential lines of exploration that are worth pursuing at present, especially when the 'interesting times' it evokes seem to be with us once again. Hence the 58th International Art Exhibition of La Biennale di Venezia will be titled after a counterfeit curse.... in an indirect fashion, perhaps art can be a kind of guide for how to live and think in ‘interesting times.’ The 58th International Art Exhibition will not have a theme per se, but will highlight a general approach to making art and a view of art’s social function as embracing both pleasure and critical thinking. The Exhibition will focus on the work of artists who challenge existing habits of thought and open up our readings of objects and images, gestures and situations. Art of this kind grows out of a practice of entertaining multiple perspectives: of holding in mind seemingly contradictory and incompatible notions, and juggling diverse ways of making sense of the world."
Image: Arsenale, Venice. Photo by Andrea Avezzù. Courtesy La Biennale de Venezia
November 18, 2017–November 2018
In its first ever exhibition devoted to a single artist in the sculpture park, The Contemporary Austin presented an outdoor installation of new and recent large-scale sculptures by Carol Bove.
Anchoring the exhibition in which Bove interpreted a classical sculpture garden was one of the artist’s steel "glyph" works, From the Sun to Zurich (2016). Newly-commissioned examples of Bove's abstract steel "collage sculptures" painted with cyan, yellow, and orange pigments completed the installation.
Images: Installation view, Carol Bove, The Contemporary Austin - Laguna Gloria, Austin, Texas, 2017. Artwork © Carol Bove. Image courtesy The Contemporary Austin. Photo: Brian Fitzsimmons.
December 2–3, 2017
Gallery artists Carol Bove, Jeff Koons, and Raymond Pettibon participated in Who's Afraid of the New Now?, a series of public conversations between artists whose work has shaped the identity of the New Museum in New York as part of the museum's 40th anniversary celebrations.
The conversation between George Condo and Jeff Koons was covered in ARTNEWS, including sound bites from Koons about his debut exhibition in New York—"I wanted people to have a feeling of coming across something that was in some ways better prepared to survive than yourself"—and Condo's recollections of working for Andy Warhol's Factory.
Earlier in 2017, the New Museum presented the major solo exhibition Raymond Pettibon: A Pen of All Work, featuring over seven hundred drawings from the 1960s to the present and marking the artist's first museum survey in New York. In 2016, The Keeper featured a sculptural installation by Carol Bove created in response to the work of Carlo Scarpa. The New Museum also presented The New—Jeff Koons's first solo exhibition in New York—in 1980.
May 13–November 26, 2017
For the Swiss Pavilion at the 57th Venice Biennale, Carol Bove created an installation in response to the late figurative work of Alberto Giacometti. Curated by Philipp Kaiser, the Pavilion exhibition Women of Venice also featured the work of the artist duo Teresa Hubbard / Alexander Birchler.
Bove's installation, which spanned an indoor and outdoor space, comprised nine steel sculptures including a "collage sculpture," seven bright cyan colored columnar structures, and a white glyph work.
Interviewed for Apollo magazine, the artist described how Giacometti's work has influenced her own: "He's one of my favorite artists, so it was insightful for Philipp to choose me because I don't always think it's so explicit in my work . . . I've been thinking about Giacometti a lot as somebody who has an interesting sense of the space between objects, or the suggested space around objects . . . "
Offering a unique glimpse into her studio, Polka Dots explores the process and work of Carol Bove.
Bove was closely involved in producing this publication designed by Joseph Logan, which is structured around a series of photographs taken by Andreas Laszlo Konrath on visits to her studio in Brooklyn. Through the photographs, the reader experiences not only the development of Bove's most recent body of work—referred to by the artist as "collage sculptures"—but also the materials and conditions that contribute to its creation. The sculptures are constructed from square steel tubing that has been crushed and shaped by Bove, scrap metal that she finds in the industrial environs of her studio in Red Hook, and shallow, highly polished discs. Painted in vivid colors, the sculptures appear lightweight and improvised despite their heavy materiality. In addition to Konrath's rich and intimate photographs, images of individual works are shown silhouetted out of their original contexts. In doing so, Bove aims to draw the viewer away from a typical experience of sculpture.
Released on the occasion of Bove's solo exhibition at David Zwirner in New York in 2016, Polka Dots features an essay by Johanna Burton charting the artist's fascination with process and commitment to disrupting traditional ways of seeing. Published by David Zwirner Books
Carol Bove was included in the Public Art Fund exhibition The Language of Things, on view in City Hall Park, New York during the summer of 2016. The exhibition featured works, including Bove's Lingam, that suggest different forms of coded communication. The sculpture combines petrified wood and industrial steel, two contrasting materials that appear throughout her work.
Bove was also included in the the New Museum exhibition The Keeper, on view during the summer of 2016. The show focused on works related to collection, archivization, and preservation. She installed an arrangement of her sculptures in dialogue with works by Carlo Scarpa, as she had previously done on a larger scale for the 2014 traveling exhibition Carol Bove / Carlo Scarpa.
The 2014 traveling exhibition Carol Bove / Carlo Scarpa brought together works by Bove alongside sculptures, furniture, and exhibition designs by Italian architect Carlo Scarpa. Curated by the Henry Moore Institute and produced in collaboration with Museion and Museum Dhondt-Dhaenens, the exhibition considered display strategies, experimentation, and the environment in which art is viewed. Bove herself was closely involved with installation at each venue.
Henry Moore Institute published the accompanying four-language exhibition catalogue with texts by Philippe Duboÿ, Andrea Phillips, and Pavel S. Pyś.
The Equinox at The Museum of Modern Art and Caterpillar on The High Line at the Rail Yards were each comprised of seven sculptures in specific arrangements created by the artist. The MoMA exhibition displayed works on a raised platform in the museum's painting and sculpture galleries, while the High Line exhibition situated Bove's works among vegetation in a then-unfinished portion of the park.
Each venue demonstrated Bove's interest in the display her work in relation to distinct settings. In her review of the exhibitions in The New York Times, Karen Rosenberg called Bove "an exquisite calibrator of contextual relationships."