This biography from the Archives of AskART:
|  Through found objects, "oddments fraught with associations from past eras", Brooklyn based Carol Bove creates installation sculpture that reflect her wide-ranging ideas on social, political, and artistic movements from the 1960s and 1970s. Examples of her earlier work also include ink drawings with markers on vellum of popular icons including nude women taken from Playboy magazines of the late 60s and early 70s. Next came her focus on installations, collage and assemblage. Today, working from a studio in a former paint factory in Brooklyn, she focuses on the present as well as the past, which means she keeps up on fashion cycles and other influences on the way people think, look and act.
For many viewers, her pieces are a challenge "to connect the dots, to forge the links between disparate bits and pieces-stacks of discarded books, chunks of steel and foam, lumps of wax, peacock feathers, and sculptures that sometimes look like knockoffs of obscure and often corny late modernism---until somehow they add up to rich repositories of memory and nostalgia." (137)
Carol Bove was born in Geneva, Switzerland in 1971, and spent her growing years in Berkeley during a time of political demonstrations and student rebellion. Her parents, whom she describes as being people that outsiders might call 'hippies', were fairly liberal but apparently more restrained than many of their peers. Her father painted houses, and her mother, a full-time homemaker, wrote poetry and did meditation.
Bove's inspiration to be a sculptor began when she was eight or nine years old and saw work by John McCracken at the Oakland Museum. Deciding that New York was the center for creative people, she moved there.
In 2000 at age 24, Bove graduated from New York University with credits from Nancy Barton, Director of the NYU art program, for re-organizing senior exhibitions, serving as a teaching assistant, and then returning as a part-time graduate art faculty member. She also made up classes needed because of dropping out of high school her senior year in California. Of Carol Bove, Barton said: "She's extraordinarily bright about the function of history for artists. . . . She doesn't take a quick glance and move on." (138)
In 2008, she was part of the Whitney Biennial exhibitors with an entry that included a concrete slab, twisted wood, and hanging brass rods.
Source:
Ann Landi, "The Personality of Peacock Feathers", ARTnews, September 2008, pp. 136-141
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