Registration is FREE for Nasher Members and students; $10 for non-members (includes museum admission). In-person and open to the public. Advance registration required (limited seating available).
Works in Carol Bove: Collage Sculptures take as their point of departure the means, materials, and visual language of a certain mode of midcentury sculpture often found in plazas and other public spaces and represented by such artists as Mark di Suvero, Richard Serra, and John Chamberlain. By welding and bolting together different forms of steel, from found scrap metal to tubes coated in rich, matte layers of color, Bove creates new possibilities for traditions previously considered to be exhausted.
This conversation also celebrates the release of a richly illustrated, scholarly catalogue that accompanies Carol Bove: Collage Sculptures. In addition to documenting the exhibition, the book includes a broader consideration of Bove’s collage sculptures, with essays by Dr. Craft and curator and writer Lisa Le Feuvre, the Executive Director of the Holt/Smithson Foundation and former Head of Sculpture Studies at the Henry Moore Institute.
About Carol Bove
Born in 1971 in Geneva, Carol Bove was raised in Berkeley, California, and studied at New York University. Venues that have hosted significant solo exhibitions include The Museum of Modern Art, New York (2013); The Common Guild, Glasgow (2013); Palais de Tokyo, Paris (2010); Tate St Ives, England (2009); Blanton Museum of Art, The University of Texas at Austin (2006); Kunsthalle Zürich (2004); and the Institute of Contemporary Art, Boston (2004). Group exhibitions featuring Bove’s work include the 58th Venice Biennale (2019); the 57th Venice Biennale (2017); documenta 13, Kassel, Germany (2012); the 54th Venice Biennale (2011); and the Whitney Biennial, Whitney Museum of American Art, New York (2008). Work by the artist is represented in permanent collections worldwide, including the Fonds régional d’art contemporain (FRAC) Nord-Pas de Calais, Dunkirk, France; Institute of Contemporary Art, Boston; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Wadsworth Atheneum Museum of Art, Hartford, Connecticut; Whitney Museum of American Art, New York; and the Yale University Art Gallery, New Haven, Connecticut. In 2014, The Henry Moore Institute, Leeds, with Museion, Bolzano, Italy, and Museum Dhondt-Dhaenens, Deurle, Belgium, organized an exhibition with Carol Bove and Carlo Scarpa, and her series of sculptures The séances aren't helping is the current focus of The Metropolitan Museum of Art’s Façade Commission.
About Catherine Craft
Catherine Craft is curator at the Nasher Sculpture Center, Dallas, where she has curated The Nature of Arp and Melvin Edwards: Five Decades. She is the author of An Audience of Artists: Dada, Neo-Dada, and Abstract Expressionism (2012) and Robert Rauschenberg (2013). She is also the curator of Paper into Sculpture, a 2017 presentation of works by contemporary artists who treat paper as a sculptural material, and her research on the Nasher’s permanent collection includes the recent museum-wide exhibition Nasher Mixtape. A scholar of Dada, Abstract Expressionism, and Neo-Dada, Craft holds a doctoral degree from the University of Texas at Austin.
Carol Bove: Collage Sculptures is made possible by leading support from Fanchon & Howard Hallam / Ben E. Keith Foundation and Nancy A. Nasher and David J. Haemisegger. Generous support is provided by Eric and Debbie Green and the Dallas Tourism Public Improvement District (DTPID). Additional support is provided by Betty S. Regard and Christopher V. Walker