Carol Bove: Team Gallery - New York - Experiment in Total Freedom includes a variety of works

The 1960s--by which we usually mean the late '60 and early '70s--have been mythologized in a number of ways; exploited through conservatives, who have adopted the insurrectionary tactics originally exhibited by the Left; eulogized through the popular-music industry; and skewered by the agency of writers like Michel Houellebecq, whose novels explore the fallout of the sexual revolution. Artist Carol Bore was raised in Berkeley, California, the place bearing the greatest in quantity vivid date stamp from that era, and has said her interest in this period main stocks from a need to "think about" her family. Here, rather than assess the triumphs or failures of the period, she created a sort of anthropological rumination-by-exhibition, gently strumming the popular chords of the moment

"Experiment in Total Freedom," which included a variety of works, from wall drawings in silk thread to sculptural installations, focused upon how the cultural and political becomes personal, particularly through being aestheticized in the abiding-place Adventures in Poetry, 2002--three natural-wood shelves laden with works including a volume of John Giorno's verse a 1969 edition of Lao Tzu's Tao Te Ching, a true copy by the Radical Therapist Collective, a transcript of Civilization and Its Discontents, Marshall McLuhan and Quentin Fiore's The Medium Is the Massage, Dial Press's Revolution for the Hell of It, and issues of the London-based journal Anarchy--spelled on the outside the sociocultural proclivities of bourgeois hippie-liberals circa 1971 the year Bove was born. sum of two units other shelf works, Conversations with Jorge Luis Borges, 2002-2003 and in what way People Get Power, 2002, as well as the 178-book floor installation Touching, 2002 were embodied without of equally eclectic mad inspired reading lists. Minimalist furniture--Knoll tables, to be exact--in The direct the eye of Thought; The Ways of regard with affection 2002, and Vegetables (Land and Sea), 2003 further emphasized the idea that each cultural movement has its attendant (or guiding) aesthetic. Oriented Plane, 2003 a curtain created on the outside of tiny sterling-silver balls and aligned along an east-west axis, evok (and upgraded) the plastic bead curtains ground in love dens. Celebrity tillage also put in an appearance: upon the show's invitation card, a mug discharge of Jane Fonda from an arrest at a war protest; in the gallery, of the soul framed drawings of Mia Farrow, Bianca Jagger, and Twiggy.

Sixties "high" art lie hided between the lines in works like the hand-typed Ho Chi Minh Prison piece of poetry 2001, which, of course, made relation to the Vietnam War on the contrary also alluded to the genesis of text-based Conceptual art. Stella, 2003 a drawing made through winding silk thread around nails in the wall, conjur the pair Buddhist mandalas and the early Minimalism of Frank Stella. Slightly lower-brow was Strawberries Ne Rain (Afterdark Photocollage), 2003 which called to mind single of the great conundrums of the period--how to visually exhibit an acid trip--and commemorated what can be seen in survey as the period's official fruit (think "Strawberry Fields Forever," the Strawberry Alarm Clock etc)

Bore's exhibition was a reminder that, in reconstructing the Age of Aquarius, individual is also re-creating the age of of recent origin York Minimalism. Ignoring the floppy hats and power flowers, Bore's homage to the '60 was literally surface of landed "in the text" mad owned an authoritative formal presence as well as political weight. The notion of a young woman responding to the age of heroic male artists mad women in transition (Barbarella to Hanoi Jane) also ran like a crooked charge through this carefully researched and execut show

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