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Carol Bove

Carol Bove, Peradam, 2023 Stainless steel and urethane paint, 13 ½ × 42 ½ × 8 inches (34.3 × 108 × 20.3 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Peradam, 2023

Stainless steel and urethane paint, 13 ½ × 42 ½ × 8 inches (34.3 × 108 × 20.3 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Peradam, 2023 (detail) Stainless steel and urethane paint, 13 ½ × 42 ½ × 8 inches (34.3 × 108 × 20.3 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Peradam, 2023 (detail)

Stainless steel and urethane paint, 13 ½ × 42 ½ × 8 inches (34.3 × 108 × 20.3 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Grooved Flume, 2023 Stainless steel and urethane paint, 33 ⅛ × 14 × 9 ½ inches (84.1 × 35.6 × 24.1 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Grooved Flume, 2023

Stainless steel and urethane paint, 33 ⅛ × 14 × 9 ½ inches (84.1 × 35.6 × 24.1 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Vase Face I / The Ascent to Heaven on a Dentist’s Chair, 2022 Stainless steel and laminated glass with heat-fused ink, 85 × 87 × 57 ½ inches (216 × 221 × 146.1 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Vase Face I / The Ascent to Heaven on a Dentist’s Chair, 2022

Stainless steel and laminated glass with heat-fused ink, 85 × 87 × 57 ½ inches (216 × 221 × 146.1 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Vase Face I / The Ascent to Heaven on a Dentist’s Chair, 2022 (detail) Stainless steel and laminated glass with heat-fused ink, 85 × 87 × 57 ½ inches (216 × 221 × 146.1 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Vase Face I / The Ascent to Heaven on a Dentist’s Chair, 2022 (detail)

Stainless steel and laminated glass with heat-fused ink, 85 × 87 × 57 ½ inches (216 × 221 × 146.1 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, The séances aren’t helping IV, 2021 Stainless steel and aluminum, 15 feet 2 ¾ inches × 5 feet 11 inches × 9 feet 4 inches (464.2 × 180.3 × 284.5 cm)Installation view, The Facade Commission: Carol Bove: The séances aren’t helping, Metropolitan Museum of Art, New York, March 1–October 26, 2021© Carol Bove. Photo: Jason Schmidt

Carol Bove, The séances aren’t helping IV, 2021

Stainless steel and aluminum, 15 feet 2 ¾ inches × 5 feet 11 inches × 9 feet 4 inches (464.2 × 180.3 × 284.5 cm)
Installation view, The Facade Commission: Carol Bove: The séances aren’t helping, Metropolitan Museum of Art, New York, March 1–October 26, 2021
© Carol Bove. Photo: Jason Schmidt

Carol Bove, Amoureux, 2021 Stainless steel, 113 ½ × 75 ¾ × 40 inches (288.3 × 217.8 × 101.6 cm)Installation view, Carol Bove: Collage Sculptures, Nasher Sculpture Center, Dallas, October 16, 2021–January 9, 2022© Carol Bove. Photo: Kevin Todora

Carol Bove, Amoureux, 2021

Stainless steel, 113 ½ × 75 ¾ × 40 inches (288.3 × 217.8 × 101.6 cm)
Installation view, Carol Bove: Collage Sculptures, Nasher Sculpture Center, Dallas, October 16, 2021–January 9, 2022
© Carol Bove. Photo: Kevin Todora

Carol Bove, Coy Satanism, 2020 Stainless steel and urethane paint, 16 ⅝ × 37 ¼ × 10 ⅞ inches (42.2 × 94.6 × 27.6 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Coy Satanism, 2020

Stainless steel and urethane paint, 16 ⅝ × 37 ¼ × 10 ⅞ inches (42.2 × 94.6 × 27.6 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Tragic Deviousness, 2020 Stainless steel and urethane paint, 37 ¼ × 63 ¾ × 39 ½ inches (94.6 × 161.9 × 100.3 cm)© Carol Bove. Photo: Kerry McFate

Carol Bove, Tragic Deviousness, 2020

Stainless steel and urethane paint, 37 ¼ × 63 ¾ × 39 ½ inches (94.6 × 161.9 × 100.3 cm)
© Carol Bove. Photo: Kerry McFate

Carol Bove, Bather, 2019 Stainless steel and urethane paint, 154 × 78 × 50 inches (391.2 × 198.1 × 127 cm)Installation view, May You Live in Interesting Times, 58th Biennale di Venezia, Venice, May 11–November 24, 2019© Carol Bove. Photo: Maris Mezulis

Carol Bove, Bather, 2019

Stainless steel and urethane paint, 154 × 78 × 50 inches (391.2 × 198.1 × 127 cm)
Installation view, May You Live in Interesting Times, 58th Biennale di Venezia, Venice, May 11–November 24, 2019
© Carol Bove. Photo: Maris Mezulis

Carol Bove, VY Canis Majoris, 2019 Stainless steel and urethane paint, 25 ¼ × 38 ⅜ × 32 ¼ inches (64.1 × 97.5 × 82 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, VY Canis Majoris, 2019

Stainless steel and urethane paint, 25 ¼ × 38 ⅜ × 32 ¼ inches (64.1 × 97.5 × 82 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, The Moon and the Yew Tree, 2019 Stainless steel, urethane paint, and up to 10 medium-density fiberboard forms: with 2 forms: 58 ⅝ × 86 ⅞ × 54 ¾ inches (149 × 220.7 × 139 cm); with 10 forms: 12 feet 5 ⅝ inches × 34 feet 5 ⅜ inches × 20 feet 11 ⅞ inches (380 × 1050 × 640 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, The Moon and the Yew Tree, 2019

Stainless steel, urethane paint, and up to 10 medium-density fiberboard forms: with 2 forms: 58 ⅝ × 86 ⅞ × 54 ¾ inches (149 × 220.7 × 139 cm); with 10 forms: 12 feet 5 ⅝ inches × 34 feet 5 ⅜ inches × 20 feet 11 ⅞ inches (380 × 1050 × 640 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Brandenburg Concerto No. 3 in G Major, BWV 1048: 11. Adagio, Herbert Waltl, 2019 Steel, stainless steel, and urethane paint, 121 × 93 × 65 inches (307.3 × 236.2 × 165.1 cm)© Carol Bove. Photo: Fredrik Nilsen Studio

Carol Bove, Brandenburg Concerto No. 3 in G Major, BWV 1048: 11. Adagio, Herbert Waltl, 2019

Steel, stainless steel, and urethane paint, 121 × 93 × 65 inches (307.3 × 236.2 × 165.1 cm)
© Carol Bove. Photo: Fredrik Nilsen Studio

Carol Bove, 10 Hours, 2019 Steel, stainless steel, and urethane paint, 69 ⅝ × 33 ½ × 35 ⅛ inches (176.8 × 85.1 × 89.2 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, 10 Hours, 2019

Steel, stainless steel, and urethane paint, 69 ⅝ × 33 ½ × 35 ⅛ inches (176.8 × 85.1 × 89.2 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, 10 Hours, 2019 Steel, stainless steel, and urethane paint, 69 ⅝ × 33 ½ × 35 ⅛ inches (176.8 × 85.1 × 89.2 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, 10 Hours, 2019

Steel, stainless steel, and urethane paint, 69 ⅝ × 33 ½ × 35 ⅛ inches (176.8 × 85.1 × 89.2 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, La Luce, 2019 Stainless steel and urethane paint, 24 ¾ × 23 × 11 ¾ inches (62.9 × 58.4 × 30 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, La Luce, 2019

Stainless steel and urethane paint, 24 ¾ × 23 × 11 ¾ inches (62.9 × 58.4 × 30 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Nike I, 2018 Steel, stainless steel, and urethane paint, 58 ⅝ × 51 ⅞ × 45 ⅝ inches (149 × 131.8 × 115.9 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Nike I, 2018

Steel, stainless steel, and urethane paint, 58 ⅝ × 51 ⅞ × 45 ⅝ inches (149 × 131.8 × 115.9 cm)
© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Hylomorph I, 2016 Steel, stainless steel, and urethane paint, 71 ½ × 42 × 51 inches (181.6 × 106.7 × 129.5 cm)© Carol Bove. Photo: Dan Bradica

Carol Bove, Hylomorph I, 2016

Steel, stainless steel, and urethane paint, 71 ½ × 42 × 51 inches (181.6 × 106.7 × 129.5 cm)
© Carol Bove. Photo: Dan Bradica

Carol Bove, Hylomorph I, 2016 (detail) Steel, stainless steel, and urethane paint, 71 ½ × 42 × 51 inches (181.6 × 106.7 × 129.5 cm)© Carol Bove. Photo: Dan Bradica

Carol Bove, Hylomorph I, 2016 (detail)

Steel, stainless steel, and urethane paint, 71 ½ × 42 × 51 inches (181.6 × 106.7 × 129.5 cm)
© Carol Bove. Photo: Dan Bradica

Carol Bove, Cat’s Paw, 2016 Stainless steel, found steel, and urethane paint, 61 × 66 × 44 inches (155 × 167.6 × 111.8 cm)© Carol Bove. Photo: Josh White

Carol Bove, Cat’s Paw, 2016

Stainless steel, found steel, and urethane paint, 61 × 66 × 44 inches (155 × 167.6 × 111.8 cm)
© Carol Bove. Photo: Josh White

Carol Bove, Untitled, 2014 Peacock feathers on linen with UV-filtering acrylic, 96 ½ × 48 ½ × 5 inches (245.1 × 123.2 × 12.7 cm)© Carol Bove. Photo: Maris Hutchinson

Carol Bove, Untitled, 2014

Peacock feathers on linen with UV-filtering acrylic, 96 ½ × 48 ½ × 5 inches (245.1 × 123.2 × 12.7 cm)
© Carol Bove. Photo: Maris Hutchinson

Installation view, Carol Bove: The Equinox, Museum of Modern Art, New York, July 20, 2013–January 12, 2014 Artwork © Carol Bove. Photo: John Wronn

Installation view, Carol Bove: The Equinox, Museum of Modern Art, New York, July 20, 2013–January 12, 2014

Artwork © Carol Bove. Photo: John Wronn

Carol Bove, Celeste, 2013 Powder-coated steel, 72 ⅛ × 54 ⅞ × 186 ½ inches (183.2 × 139.4 × 473.7 cm)Installation view, Carol Bove: Caterpillar, High Line at the Rail Yards, New York, May 16, 2013–April 20, 2014© Carol Bove. Photo: Timothy Schenck

Carol Bove, Celeste, 2013

Powder-coated steel, 72 ⅛ × 54 ⅞ × 186 ½ inches (183.2 × 139.4 × 473.7 cm)
Installation view, Carol Bove: Caterpillar, High Line at the Rail Yards, New York, May 16, 2013–April 20, 2014
© Carol Bove. Photo: Timothy Schenck

Installation view, Carol Bove: Flora’s Garden, Documenta 13, Kassel, Germany, June 9–September 16, 2012 Artwork © Carol Bove. Photo: Nils Klinger

Installation view, Carol Bove: Flora’s Garden, Documenta 13, Kassel, Germany, June 9–September 16, 2012

Artwork © Carol Bove. Photo: Nils Klinger

Carol Bove, Triguna, 2012 Steel, concrete, brass, feather, and shell, 67 × 20 ½ × 12 ½ inches (170.2 × 52.1 × 31.8 cm)© Carol Bove

Carol Bove, Triguna, 2012

Steel, concrete, brass, feather, and shell, 67 × 20 ½ × 12 ½ inches (170.2 × 52.1 × 31.8 cm)
© Carol Bove

Carol Bove’s room display for Summer Season 2009, Tate St Ives, Cornwall, England, May 16–September 27, 2009 Artwork © Carol Bove

Carol Bove’s room display for Summer Season 2009, Tate St Ives, Cornwall, England, May 16–September 27, 2009

Artwork © Carol Bove

Carol Bove, La Traversée difficile, 2008 Steel, glass, wood, concrete, silver, brass, bronze, wax, insulating foam and steel, coral, aluminum, seeds, rocks, shells, paper, and photograph, 73 ⅝ × 96 × 48 inches (186.9 × 243.8 × 121.9 cm)© Carol Bove. Photo: Ivo Farber

Carol Bove, La Traversée difficile, 2008

Steel, glass, wood, concrete, silver, brass, bronze, wax, insulating foam and steel, coral, aluminum, seeds, rocks, shells, paper, and photograph, 73 ⅝ × 96 × 48 inches (186.9 × 243.8 × 121.9 cm)
© Carol Bove. Photo: Ivo Farber

Carol Bove, Innerspace Bullshit, 2007 14 books, comic book, letter, bronze sculpture, Marfa rock, ocean ephemera, mirror, and pamphlet on wood-and-metal shelves, 42 × 36 ⅛ × 12 inches (106.7 × 91.8 × 30.5 cm)© Carol Bove

Carol Bove, Innerspace Bullshit, 2007

14 books, comic book, letter, bronze sculpture, Marfa rock, ocean ephemera, mirror, and pamphlet on wood-and-metal shelves, 42 × 36 ⅛ × 12 inches (106.7 × 91.8 × 30.5 cm)
© Carol Bove

Carol Bove, The Night Sky Over Berlin, March 2, 2006 at 9pm, 2006 Wax, concrete, driftwood, polyurethane foam, peacock feather, steel, bronze, wood, plexiglass, and gold, 48 × 48 × 96 inches (122 × 122 × 243.8 cm)© Carol Bove. Photo: Carsten Eisfield

Carol Bove, The Night Sky Over Berlin, March 2, 2006 at 9pm, 2006

Wax, concrete, driftwood, polyurethane foam, peacock feather, steel, bronze, wood, plexiglass, and gold, 48 × 48 × 96 inches (122 × 122 × 243.8 cm)
© Carol Bove. Photo: Carsten Eisfield

About

Since the early 2000s, Carol Bove has focused on the interdependence of artworks and their contexts. From found objects to industrial construction hardware and architectural sites, her poetic use of materials is amplified by her current work in large-scale metal sculpture. Bove embraces the strategies of modernist formalism as a point of departure, exploring previously overlooked openings in the conventional narratives of art history.

Bove was born in 1971 in Geneva, Switzerland, and raised in Berkeley, California. She relocated to New York in 1993 and earned a BS from New York University in 2000. Her first major museum exhibition was held at Kunstverein Hamburg, Germany, in 2003. Between 2009 and 2013, Bove taught at the NYU Steinhardt School of Culture, Education, and Human Development.

Bove’s early assemblages often feature publications related to the intellectual fashions of the 1960s and ’70s, juxtaposed with objects such as stones and feathers to trace links between periods, places, and ideas. Thus, even while drawing on conventions of display and exercising formal restraint, Bove integrates philosophical and cultural allusions into her work. When Attitudes Become Form (2002) features wooden shelves stocked with books, including the catalogue for the eponymous 1969 exhibition and volumes on psychedelic drugs. Other projects incorporate the work of other artists; in Shrine to Eris (2010), Bove adds reproductions of paintings by Hans Hofmann to an arrangement of peacock feathers and other items, while in “setting” for A. Pomodoro (2014), she includes a sculpture by Italian modernist Arnaldo Pomodoro.

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Fairs, Events & Announcements

Sarah Sze, Turning and Turning, 2024 © Sarah Sze. Photo: Maris Hutchinson

Art Fair

Art Basel Hong Kong 2024

March 27–30, 2024
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is participating in Art Basel Hong Kong 2024 with a selection of works by international contemporary artists. The works on view, which embrace a dizzying variety of subjects and approaches, see the participating artists identify fresh ways to disrupt established histories of abstraction and figuration, and instill sculptural and painterly representations of the natural world with complex cultural significance.

Sarah Sze, Turning and Turning, 2024 © Sarah Sze. Photo: Maris Hutchinson

Photo: Jeff Henrikson

Honor

Carol Bove
Museum of Contemporary Art Distinguished Women in the Arts 2024

Carol Bove will be honored, along with fellow artist Kelly Akashi and the late philanthropist Mandy Einstein, for their extraordinary talents and contributions to the arts at the Twelfth Distinguished Women in the Arts Luncheon on January 11, 2024, at the Beverly Wilshire Hotel in Beverly Hills, California. Established in 1994 by the Projects Council of the Museum of Contemporary Art, Los Angeles, the event recognizes the many gifted women providing leadership and innovation in the visual arts, dance, music, and literature. This year’s luncheon will feature a performance by dance company BODYTRAFFIC and a silent auction to raise funds in support of the museum’s mission.

Photo: Jeff Henrikson

Harry Smith, Untitled (Zodiacal hexagramscratchboard), c. 1952 © Harry Smith

Talk

My Harry: Magick and Mysticism
Carol Bove, Raymond Foye, Andrew Lampert, Charles Stein

Friday, December 8, 2023, 5:30–9pm
Whitney Museum of American Art, New York
whitney.org

“Magick and Mysticism” is the first night of My Harry, a three-day gathering celebrating the eclectic life and serpentine pursuits of Harry Smith. Featuring Carol Bove, Raymond Foye, Andrew Lampert, and Charles Stein, this evening is devoted to talks and conversations about Smith’s interest in and artistic explorations of spiritual and occult practices alongside listening sessions and screenings. 

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Harry Smith, Untitled (Zodiacal hexagramscratchboard), c. 1952 © Harry Smith

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Museum Exhibitions

Installation view, Making Their Mark, Shah Garg Foundation, New York, November 2, 2023–March 23, 2024. Artwork, left to right: © Joan Semmel, © Carol Bove, © Maria Lassnig, © 2024 Dana Schutz, © Cecily Brown

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Making Their Mark

November 2, 2023–March 23, 2024
Shah Garg Foundation, New York
www.shahgargfoundation.org

Making Their Mark, curated by Cecilia Alemani, showcases the works of more than seventy women artists from the last eight decades. The exhibition champions the lives and work of women artists, bringing into vibrant relief their intergenerational relationships, formal and material breakthroughs, and historical impact. Through drawings, mixed media, paintings, sculptures, and textile works, these artists aim to rechart art history through their singular, iconic practices. Work by Carol Bove, Jadé Fadojutimi, Sarah Sze, and Mary Weatherford is included.

Installation view, Making Their Mark, Shah Garg Foundation, New York, November 2, 2023–March 23, 2024. Artwork, left to right: © Joan Semmel, © Carol Bove, © Maria Lassnig, © 2024 Dana Schutz, © Cecily Brown

Installation view, Fragments of a Faith Forgotten: The Art of Harry Smith, Whitney Museum of American Art, New York, October 4–January 28, 2024. Artwork © Harry Smith. Photo: Ron Amstutz

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Fragments of a Faith Forgotten
The Art of Harry Smith

October 4, 2023–January 28, 2024
Whitney Museum of American Art, New York
whitney.org

The first solo exhibition of artist, experimental filmmaker, and groundbreaking musicologist Harry Smith (1923–1991)—whose 1952 compendium of song recordings, Anthology of American Folk Music, laid the groundwork for the popularization of folk music in the 1960s—is cocurated and designed by Carol Bove. This major survey introduces Smith’s life and work within a museum setting for the first time and includes paintings, drawings, experimental films, designs, and objects from Smith’s personal collections, such as string figures and found paper airplanes.

Installation view, Fragments of a Faith Forgotten: The Art of Harry Smith, Whitney Museum of American Art, New York, October 4–January 28, 2024. Artwork © Harry Smith. Photo: Ron Amstutz

Jonas Wood, Patterned Interior with Mar Vista View, 2020, Rachofsky Collection, installation view, The Warehouse, Dallas © Jonas Wood. Photo: Kevin Todora

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Room by Room
Concepts, Themes, and Artists in the Rachofsky Collection

September 9–November 25, 2023
The Warehouse, Dallas
thewarehousedallas.org

Room by Room builds on the ongoing interest at The Warehouse to reflect on the development of its collection, presenting works for the first time. Spanning a range of mediums, geographies, and eras, each gallery focuses on a single artist or theme, allowing an in-depth look at the artistic movements important to the collection from the outset, together with other avenues of interest that have developed over the years. Work by Richard Artschwager, Carol Bove, Alex Israel, Sterling Ruby, and Jonas Wood is included.

Jonas Wood, Patterned Interior with Mar Vista View, 2020, Rachofsky Collection, installation view, The Warehouse, Dallas © Jonas Wood. Photo: Kevin Todora

Carol Bove, Hairpin, 2018, Longlati Foundation, Shanghai © Carol Bove

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Entangled, Ensnared, Entwined
Carol Bove, Hu Xiaoyuan, Alicja Kwade

March 3–August 15, 2023
Longlati Foundation, Shanghai
www.longlatifoundation.org

Counterposing the work of Carol Bove, Hu Xiaoyuan, and Alicja Kwade, this exhibition reflects their nuanced insights into the sculptural forms of personal, psychological, and social attachments. Three sub-themes—“Entangled Positions,” “Ensnared Beings,” and “Entwined Engagements”—describe various dimensions of intertwining as a metaphor for living in or with nature.

Carol Bove, Hairpin, 2018, Longlati Foundation, Shanghai © Carol Bove

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