May 13 – November 26
For the Swiss Pavilion at the 57th Venice Biennale, Carol Bove has created an installation in response to the late figurative work of Alberto Giacometti. Curated by Philipp Kaiser, the Pavilion exhibition Women of Venice also features the work of the artist duo Teresa Hubbard / Alexander Birchler.
Bove’s installation, which spans an indoor and outdoor space, comprises 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."