On View

‘Carol Bove: RA, or Why Is an Orange Like a Bell?’ at Maccarone

Installation view. (Photo by Jeffrey Sturges, courtesy Maccarone)

Carol Bove stops short. A systematic thought process can knit itself together into a stable, static pattern, like Harry Smith’s Design for Qor Corporation, an acrylic on cardboard cruciform Celtic knot; distend outward in an infinite loop, like much of the beautifully geometrical, dangerously mystical ephemera produced in mid-century by Mr. Smith, his friends Lionel and Joanne Ziprin, and assorted Kabbalists, and curated into a small parallel exhibition by Ms. Bove and Philip Smith; or collapse and dissolve like ocean foam. But in I-beam Sculpture, the first piece meeting the viewer in “RA, or Why is an orange like a bell?” Ms. Bove arrests the process at the last possible moment of suggestive ambiguity. Eight purplish lengths of I-beam faintly marked with scaly orange rust are bolted together into an inconclusive intersection. Two shorter sections are fastened together lengthwise, parallel to the floor, with symmetrical cutouts at either end. Facing the door is a cross-shaped gap; on the far side, pointing to the large pane of glass, framed between two more I-beams and two of the gallery’s columns, on which Mr. Smith’s painting is mounted, is a cross. Read More