.jpg)
Untitled (Edition for Parkett 86), 2009
Brass, mixed media
Brass frame: 22 x 8 x 7.5 cm
Object:
Ex. no. 7/35, all copies are unique
Provenance:
Parkett Publishers, Zurich and New York
Literature:
200 Art Works – 25 years Artist’s Edition
for Parkett, Catalogue raisonné, with essays
by Susan Tallman and Deborah Wye,
Zürich, New York 2009, S. 100.
Carol Bove meets Zero, Ausst.-Kat. Galerie Koch, Hannover 2016, S. 24f.
65 Jahre Galerie Koch, Ausst.-Kat. Galerie Koch, Hannover 2020, S. 50f.
for Parkett, Catalogue raisonné, with essays
by Susan Tallman and Deborah Wye,
Zürich, New York 2009, S. 100.
Carol Bove meets Zero, Ausst.-Kat. Galerie Koch, Hannover 2016, S. 24f.
65 Jahre Galerie Koch, Ausst.-Kat. Galerie Koch, Hannover 2020, S. 50f.
The edition created by Carol Bove in 2009 for the legendary Swiss art magazine "Parkett" consists of a cubic brass frame with a floating mounted object. All copies of the edition are unique, as each shows a different object found by the artist on her tours through Red Hook, a neighbourhood in Brooklyn on Upper New York Bay: here a fossilised corral.
Bove's oeuvre includes objects, collages and assemblages in which she arranges and assembles materials such as stones, shells, feathers, driftwood, small artefacts, books, magazines and photographs on shelves, metal and stone column tables or other supporting materials. With these works, the artist reflects certain intellectual epochs, in particular Surrealism and the cultural, societal and social upheavals of the 1960s and early 1970s. Despite her anthropological approach, Bove does not proceed in a strictly scientific manner, but predominantly subjectively and determined by artistic criteria. In doing so, she adapts the display of the objects to the formal language of the reflected epoch. By means of the presentation, the objects are charged with meaning and their formal qualities are enhanced. The cubic brass frames of the "Edition für Parkett", for example, are inspired by the minimalist formal language of the 1960s, in particular the forms of the museum display cases by Italian architect and designer Carlo Scarpa and the grid structures of Sol LeWitt. The fossilised coral in this piece can be understood as a reference both to the significance of the "objet trouvé" in surrealism and to the hippie culture of the 1960s/70s with its closeness to nature.
Bove's oeuvre includes objects, collages and assemblages in which she arranges and assembles materials such as stones, shells, feathers, driftwood, small artefacts, books, magazines and photographs on shelves, metal and stone column tables or other supporting materials. With these works, the artist reflects certain intellectual epochs, in particular Surrealism and the cultural, societal and social upheavals of the 1960s and early 1970s. Despite her anthropological approach, Bove does not proceed in a strictly scientific manner, but predominantly subjectively and determined by artistic criteria. In doing so, she adapts the display of the objects to the formal language of the reflected epoch. By means of the presentation, the objects are charged with meaning and their formal qualities are enhanced. The cubic brass frames of the "Edition für Parkett", for example, are inspired by the minimalist formal language of the 1960s, in particular the forms of the museum display cases by Italian architect and designer Carlo Scarpa and the grid structures of Sol LeWitt. The fossilised coral in this piece can be understood as a reference both to the significance of the "objet trouvé" in surrealism and to the hippie culture of the 1960s/70s with its closeness to nature.