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Carol Bove, wanita seniwati pematung

Kunjungan ke studio pematung Carol Bove di bekas pabrik batu bata di dekat tepian  Brooklyn tidak seperti saran Rimbaud untuk seniman sejati – untuk terlibat dalam “disorganisasi tak terbatas dan sistematis dari semua indera” – melompat ke pikiran. Lantai pabrik yang besar dan didominasi oleh kerekan di atas kepala yang tampak seolah-olah  bisa mengerek  kereta bawah tanah, tempat yang tidak membangkitkan kata-kata bukan puisi seperti “keuntungan produktivitas” dan “strategi kepuasan pelanggan.”

Tetapi ibu Bove, 45 tahun ,yang potongan karyanya telah dirayakan secara luas dalam beberapa tahun terakhir,yang dikumpulkan oleh Museum of Modern Art dan ditampilkan di Venice Biennale,juga dikenal untuk menjaga trampolin kecil di studio, salah satu strategi esoteris dia untuk “melarutkan rasa keterpisahan saya dari dunia , “saat ia menggambarkan penjara kebiasaan, atau bahkan rasional, dalam berpikir. Dalam sebuah esai yang ditulisnya tahun lalu untuk seniman muda, dia menambahkan bahwa selama bertahun-tahun, dia juga mencoba “filsafat, teknik Feldenkrais, antropologi, astrologi,fisiologi persepsi, merenungkan hidup sebagai manusia gua, dengan pengaturan makanan, pengalaman psychedelic, membaca buku motivasi, jatuh cinta, berlatih ritual magis dan tradisi ilmiah, antara pendekatan membebaskan lainnya dari  terapi yang mendalam.“ Saya tidak mau karyaku mengurangi kepribadianku,” katanya dalam sebuah wawancara. “ Aku mau semuanya ini menjadi diri saya sendiri, yang saya rasa akan lebih membesar.”

Ms. Bove, who also has a show of the new sculpture on view through Dec. 23 at the Maccarone gallery in Los Angeles, has been moving toward larger, more imposing work for several years now. Tetapi karya-karya barunya — semuanya dalam baja, some portions rusty and twisted, salvaged from New Jersey scrapyards; and others new, painted to look science-fiction spooky — are the most ambitious of her career, which has so flourished that she recently began moving here from smaller studio spaces in Red Hook, with a staff of 10 to help her manage exhibitions and manipulate the metal.

Photo

Carol Bove’s “Hylomorph I” (2016).CreditTony Cenicola/The New York Times

During a recent visit, she and her assistants had arranged many of the sculptures to mimic the space inside the Zwirner gallery in Chelsea. Ms. Bove (pronounced Bo-VAY) is obsessive about how groups of her pieces work in tandem, almost in the manner of a theater troupe, and how they are experienced — “kind of like walking through a picture,” she said.

Around this precise tableau lay the kind of oddball raw material and detritus that sometimes makes its way into her work: a salvaged root system from a redwood; a huge block of Styrofoam that looked like quarried stone; a pile of square stainless-steel tubes that she bends, using a 50-ton press, so that they end up looking more like squiggled brush strokes than like industrial metal. “This is maybe a first draft of something,” she said, kicking a double-bent column with her dirty white tennis shoe.

The ability to afford what is essentially a huge machine shop has allowed her, perhaps counterintuitively, she said, to make pieces with more spontaneity — “to look as if they’re almost easy” — and to continue to have the mental space to think in unconventional ways. It has also allowed her to expand her horizons while staying in Red Hook, where she and her husband, the painter Gordon Terry, have long lived and are raising their two children.

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Carol Bove’s “Daphne and Apollo” (2016).CreditTony Cenicola/The New York Times

Some of Ms. Bove’s earliest pieces, which drew heavily on her upbringing in the Bay Area in the 1970s, were spare Modernist shelves, decorated with domestic knickknacks and a highly particular cross section of books (Hermann Hesse; R. D. Laing; Betty Friedan; “Natural Parenthood,” by Eda J. LeShan.) The books evoked a generally optimistic, open period in the counterculture, an interest of Ms. Bove’s that continues and edges up to mysticism in her fascination with thinkers like Harry Smith and Lionel Ziprin, the old-time hairy magi of the East Village. The critic Barry Schwabsky wrote in The Nation that “the risk of plunging into some sort of hippie-dippy self-delusion comes with the territory that Bove’s been exploring.”

Laura Hoptman, a curator at the Museum of Modern Art who organized a show of Ms. Bove’s work in 2013, said she became interested in her art partly because of that risk. She considers Ms. Bove’s forays into big-footprint sculpture to be only superficially riffs on 20th-century forebears. “I had always thought of her as a neo-Modernist,” Ms. Hoptman said. “But I came to the realization that that wasn’t really it. I started to think that she was more a collector than an appropriator — a collector of talismans. Her pieces might be the children of those earlier sculptors, but they’re sprinkled with a different kind of fairy dust.”

She added: “There are some people who come from the time of the counterculture, and they reject it, but she’s embracing it and inspecting it. She’s really drunk her own Kool-Aid.”

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Carol Bove’s studio, a former factory floor in Red Hook, Brooklyn. CreditTony Cenicola/The New York Times

Ms. Bove allowed about as much. “I don’t really believe in the stable self,” she said. “If there’s a John Chamberlain who wants to come through me, that’s fine.” Later, she emailed this thought: “Years ago, my grandmother made some diminishing remark to me about Busby Berkeley’s achievement, saying that he just copied all of his choreography from a kaleidoscope. But a lot of people have seen a kaleidoscope, and only one person made those dances! Everyone is thoroughly interconnected and everyone is also an individual.”

Lokasi koordinat artistik di pesawat eksistensial adalah kadang-kadang rumit. “Tingkat kegagalan saya dengan potongan-potongan cukup tinggi,” katanya, tetapi menambahkan bahwa dia juga cukup praktis untuk memahami bahwa tagihan harus dibayar. (Harga untuk karya besar nya sekarang juga mencapai enam angka.) “Saya pikir beberapa buah sebagai orang-orang yang benar-benar tidak akan bisa pergi keluar dan mendapatkan pekerjaan – mereka para penyair dan pemimpi, dan itu OK Dan kemudian ada orang lain yang keluar sana dan mendapatkan cukup untuk orang lain. Dan itu oke juga. ”

Seperti matahari akan turun di luar studio sore itu, Ms. Bove mengatakan ia telah memutuskan untuk mengelilingi potongan-potongan baru dalam semacam abu-abu seragam dalam galeri Zwirner, kamar dicat dari lantai ke langit-langit untuk “membuat segalanya secara fisik merasa seperti itu dalam keadaan suspensi, “ide yang memberikan kenikmatan yang cukup nya. “Saya pikir itu akan naik perbatasan yang benar-benar kami

ird.”

Sumber: http://www.nytimes.com/2016/11/05/arts/design/sculptures-woman-of-steel-carol-bove.html

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