Carol Bove, a New York–based mostly sculptor who performs with mystical components of scale and materiality, has joined Gagosian gallery for world illustration after a 12-year relationship with fellow mega-gallery David Zwirner.
The transfer ends Bove’s association with Zwirner, with which she signed on for co-representation with Maccarone gallery in 2011, and which featured her first solo present in London in 2015.
In an announcement, Larry Gagosian mentioned, “Carol Bove is a number one voice in sculpture at present. I’ve been following her work for years and was struck by her set up within the Swiss Pavilion on the Biennale di Venezia in 2017. Her intervention into the façade of the Metropolitan Museum of Artwork in New York in 2021 additional impressed me, revealing her acute sense of structure as a framework for sculpture. Carol displays a novel capability for phantasm in her use of supplies and coloration. It’s a privilege and honor to companion along with her and pursue extra bold initiatives collectively.”
Bove’s first present with Gagosian will open in November on the gallery’s Park & 75 location in Manhattan, a brief subway experience from “Fragments of a Religion Forgotten: The Artwork of Harry Smith,” an exhibition co-curated and designed by Bove that opens October 4 on the Whitney Museum of American Artwork. Gagosian will even function new sculpture of Bove’s in October at Paris+ par Artwork Basel, “integrating her work throughout the context of the gallery’s wider historic program,” in line with an announcement.
Born in Geneva and raised in Berkeley, California, Bove has been based mostly in New York since 1993. Her work with discovered objects and finely rendered supplies has concerned completely different modes of show, starting from bookshelves stocked with esoteric countercultural tomes to columns and plinths that function sculpture in and of themselves. Her current work in metal has developed by way of dimension and type, with quite a few sculptures formed and painted in ways in which twist notion and play with tensions between dynamism and stillness.
Her work featured in Documenta in 2012, when she exhibited 4 out of doors sculptures impressed by 18-century statues of mythological gods, and on New York’s Excessive Line, the place in 2013 she put in glyph-like sculptures in a then-undeveloped a part of the park. In 2021, Bove put in a collection of contorted metal tubes adorned with reflective aluminum disks in empty niches on the Met in New York (beneath the title The séances aren’t serving to) and offered “Carol Bove: Collage Sculptures” on the Nasher Sculpture Heart in Dallas, Texas.