Daniel Dove’s paintings depict single structures against banal landscapes and coolly decorated interiors. They have an inherent melancholy created through a conspicuous lack of live bodies and tightly cropped views. They show human-made buildings, furniture, vehicles, and grounds—nothing seems organic—and yet the viewer has no clue as to who created them.
In "Late Phase" (2019), the viewer is offered a pockmarked sculpture before a crumbling geodesic dome, based on the Barbosa and Guimaraes-designed headquarters for Vodafone in Porto, Portugal. As the title of the painting suggests, these two structures are in decline. The view could be a presentation of relics or an inspection for restoration. The orange atmospheric light may suggest a new dawn rather than a sunset. It is for the viewer to decide if this is a beautiful ruin or potential renewal.
In "Spring" (2018), Dove takes a public sculpture in an abandoned square as a motif. The sculpture is entirely invented, as is the space in which it stands. An examination of both painting and the vicissitudes of today's built environment, Dove's ersatz sculpture is drawn from Picasso's famous work, "The Bathers" (1918). The modernist cement structure behind it is an amalgam of both famous buildings and neglected ones.
Daniel Dove studied with Peter Saul at the University of Texas and worked with William Bailey, Mel Bochner, and Sylvia Plimack Mangold in grad school at Yale. Dove’s scenes are familiar in their industrial modernist sensibilities but are imagined constructions that the artist meticulously sketches in his studio. His process is technical and laborious, allowing him to create no more than eight paintings a year. This deliberation can be seen in the masterly application of paint and luminous quality of the finished works. Dove’s colors are subtle, and the compositions—which play intellectually on the language of painting and architecture—push the viewer’s sense of the picture plane, while engaging a knowledge of art history. Genres such as gestural and hard-edge abstraction, history painting, landscape, and still life are all pulled into Daniel Dove’s work.
Daniel Dove (b. 1971, Austin, TX) received his BFA from the University of Texas at Austin (Austin, TX) and his MFA from Yale University (New Haven, CT). Dove’s work has been featured in solo and group exhibitions at Cherry and Martin (Los Angeles, CA), Frederick R. Weisman Museum (Malibu, CA), Cleveland Institute of Art (Cleveland, OH), The Contemporary Austin (Austin, TX), and Jack Shainman Gallery (New York, NY). He has received grants from the Dallas Museum of Art and the Ohio Arts Council. Daniel Dove is the recipient of The William and Dorothy Yeck Award and a Joan Mitchell Foundation Fellowship. He has been featured in various publications such as “Artforum,” “Art in America,” “Los Angeles Times,” “The Village Voice,” “Harper’s Magazine,” “LA Weekly,” and “Tema Celeste.” Daniel Dove’s work is in the permanent collections of the Frederick R. Weisman Museum (Malibu, CA), Progressive Insurance (Cleveland, OH), and Hallmark Art Collection (Kansas City, MO). Daniel Dove is a full-time faculty member at California State University, Long Beach. Dove lives and works in San Pedro, CA.