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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 Sculpture.
Published by the Nasher Sculpture Center, the catalogue features
beautiful reproductions of Bove's work and an introduction as well
as an essay by curator Catherine Craft on the development of the
collage sculptures and their relationship to other artists and
traditions of modern sculpture. Also included is an essay by Lisa
Le Feuvre that explores Bove's complex work by means of a thematic
alphabet related to the artist's interests.
The work of Robert Rauschenberg has had a profound impact on
avant-garde art from the 1950s onwards. A pioneer of multimedia
are, this book explores his experimentations from his Combines
(works melding painting and sculpture), prints, silkscreen
paintings to his use of technology and his collaborations with
choreographers such as Merce Cunningham and Trisha Brown. This book
explores his work.
The term Neo-Dada surfaced in New York in the late 1950s and was
used to characterize young artists like Robert Rauschenberg and
Jasper Johns whose art appeared at odds with the serious emotional
and painterly interests of the then-dominant movement, abstract
expressionism. Neo-Dada quickly became the word of choice in the
early 1960s to designate experimental art, including assemblage,
performance, pop art, and nascent forms of minimal and conceptual
art. "An Audience of Artists" turns this time line for the postwar
New York art world on its head, presenting a new pedigree for these
artistic movements. Drawing on an array of previously unpublished
material, Catherine Craft reveals that Neo-Dada, far from being a
reaction to abstract expressionism, actually originated at the
heart of that movement's concerns about viewers, originality, and
artists' debts to the past and one another. Furthermore, she
argues, the original Dada movement was not incompatible with
abstract expressionism. In fact, Dada provided a vital historical
reference for artists and critics seeking to come to terms with the
radical departure from tradition that abstract expressionism seemed
to represent. Tracing the activities of artists such as Robert
Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel
Duchamp's renewed embrace of Dada in the late 1940s, Craft composes
a subtle exploration of the challenges facing artists trying to
work in the wake of a destructive world war and the paintings,
objects, writings, and installations that resulted from their
efforts. Providing the first examination of the roots of the
Neo-Dada phenomenon, this groundbreaking study significantly
reassesses the histories of these three movements and offers new
ways of understanding the broader issues related to the development
of modern art.
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