Carol Bove’s Great Guggenheim Retrospective Transcends Time and Space
Lionel Ziprin’s unlikely rediscovery really got going with a walk-in safe in Carol Bove’s Brooklyn studio. It was a big safe, and an old one—Bove initially had to use a car jack to pry open its metal door—and it became the unlikely home for all things related to Ziprin, a doyen of the Lower East Side art scene of the 1950s and ’60s who was all but forgotten in the intervening decades. After Bove came into possession of Ziprin’s poetry and drawings via his daughter Zia in the early 2010s, she began to exhibit them alongside her own sculptures. Suddenly, Ziprin became the subject of mainstream discourse in the New York art scene: in 2014, Frieze published a lengthy profile by my colleague Andy Battaglia that praised Ziprin, a practitioner of Kabbalah, for his “intensely networked and wildly idiosyncratic mind.” Related Articles Generally, Ziprin is not a figure seen often in New York museums: neither MoMA nor the Met owns any works by him. But this week, a drawing by Ziprin officially entered museum walls …









