Carol Bove presents new work by "sculpture's woman of steel," as coined by Randy Kennedy in The New York Times. Her new sculptures expand on her investigations of materiality and form.

Characterized by compositions of various types of steel, Bove's ongoing series of "collage sculptures," begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel-more commonly associated with inflexibility and heft-into something that appears malleable and lightweight, like clay, fabric, or crinkled paper.

Bove's new works are smaller in scale and elaborate on the "collage sculptures," with more complex forms that twist, fold, and bend into postures that belie their material construction. Bove manipulates steel to varying degrees, rendering gentle folds in some, and extreme, almost anthropomorphic contortions in others. Their contrasting textures-matte, glossy, or rough-create a further sense of visual play, heightening the surface tension throughout.

The publication features a new interview with the artist by Johanna Burton. Published on the occasion of the artist's solo exhibition at David Zwirner, Hong Kong in 2019, Carol Bove is available in both English only and bilingual English/traditional Chinese editions.

Carol Bove (b. 1971) is known for her assemblages that combine found and made elements. Incorporating a wide range of domestic, industrial, and natural objects, her sculptures, paintings, and prints reveal the poetry of their materials. As the art historian Johanna Burton notes, ¿Bove brings things together not to nudge associative impulses into free play driven by the unconscious, but rather to conjure a kind of affective tangle that disrupts any singular, historical narrative.¿

Johanna Burton is the Keith Haring Director and Curator of Education and Public Engagement at the New Museum, New York. Her writing has appeared in journals and publications, including Artforum, Parkett, October, and Texte zur Kunst.