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Bove, Carol

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Offering a unique glimpse into an artist's studio, this publication visually explores both the process and the finished work of one of today's leading contemporary artists. Built around a series of photographs by Andreas Laszlo Konrath taken over the course of multiple visits to Carol Bove's studio in Brooklyn, this catalogue offers a behind-the-scenes look into her practice. Through the photographs, the reader experiences not only the development of her most recent body of sculptures referred to by the artist as "collage sculptures" but also the materials and conditions that contribute to their creation. They are constructed from square steel tubing that has been crushed and shaped at the studio, found scrap metals, and shallow, highly polished discs. Painted in vivid colors, the sculptures appear lightweight and improvisational despite their heavy materiality. Exhibition: David Zwirner, New York City, USA (November 2016).

Artists' studios --- Bove, Carol,

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"Carol Bove: Collage Sculptures presents an extensive look into the contemporary artist's work over the past five years and her ongoing exploration of scale, color, material, and artistic traditions of the twentieth century. Bove's recent work engages the conceptual concerns of mid-century sculpture, such as spontaneity, industrial materials, and the potential of painted sculpture. However, within this space of familiar sculptural traditions, Bove has discovered new approaches that lead to places previously unknown. Bove's "collage sculptures" are created from scrap metal and stainless steel that has been carefully worked into sinuous forms and are frequently painted. Considering the hard rigidity of the steel, the works possess an appearance of almost impossible softness, as if steel could become as pliable as clay. Such works range from small pedestal sculptures to large, imposing compositions. Bove's interest in scale and how a viewer's understanding of an artwork shifts depending on its context are explored through a selection of small works from the collection of the Nasher Sculpture Center."--Publisher's description.

Sculpture --- sculpture [visual works] --- constructions [sculpture] --- color [perceived attribute] --- stainless steel --- scrap metal --- Bove, Carol --- Bove, Carol,

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Sculpture --- installations [visual works] --- architecture [discipline] --- sculpting --- Bove, Carol --- Scarpa, Carlo

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Within the realm of science, the uncertainty principle speaks of the fundamental limits of knowledge and measurement vis-à-vis the external world, and how the very act of seeing alters what is seen. Martin Herbert's The Uncertainty Principle is a collection of essays that reveals layers of unknowing and open-endedness within a diversity of contemporary art practices since the 1970s. If a work of art is always completed by the viewer, as Marcel Duchamp put it, then the works considered here equate completion with construction. In navigating us through a succession of artists' approaches, Herbert also discloses how constructed experiences of “not knowing” can lead to deep engagements with a range of specific issues and themes: from history to politics, from epistemology to mortality.

Rapport du spectateur à l'objet créé --- Epistémologie --- Dumas, Marlène --- Bove, Carol --- Campbell, Duncan --- Man, Victor --- Pivi, Paola --- Stezaker, John --- Warren, Rebecca --- Šarčevič, Bojan --- Wyn Evans, Cerith