Born in Nashville, TN, 1971.
Lives and works in Brooklyn, NY
On view in London at White Cube in Mason’s Yard is an exhibition of new large-scale
minimalist sculptures by American artist Virginia Overton. The exhibition is Overton’s
first in the UK.
Overton’s works are unique in their approach at transformation within a space, using
materials that were originally intended for another purpose, recycled and often of very
little commodity value. The artist is from Lebanon, Tennessee, and and, in her own
words, often employs a sense of thrift and economical savvy to assembling her works, a
move which frequently leads to the incorporation of highly biographic elements and
materials in her pieces. Overton is currently based in Brooklyn, NY, where she works
with installation, sculpture, and photography.
MOUNTAINVILLE, N.Y. — Sculptures by the two artists featured here in temporary presentations at Storm King Art Center this year couldn’t be less alike. A single Minimalist piece by the New York sculptor Virginia Overton is gracefully fitted to the landscape of gently rolling hills. Six monumental, figurative sculptures by Zhang Huan of Shanghai are ponderously theatrical.Download PDF The New York Times
Flat Rock at the Museum of Contemporary Art, North Miami, is Virginia Overton’s first solo exhibition in an American museum. The new freestanding sculptures that Overton created for the show are tenuous yet forceful assemblages of materials the artist encountered around Miami and on site at the museum. The exhibition begins with a large-scale fountain that Overton created for the museum’s pond. In the gallery, she addressed the existing architecture by arranging long planks of lumber to create two parallel lean-to walls; this rudimentary architectural device carves out a long passageway that viewers must navigate before entering a diagonally warped exhibition space.Download PDF Miami Rail
It's the beginning of the growing season, so Virginia Overton's new installation—four hundred feet of brass tube floating over rolling hills in the 500 acre sculpture park in Mountainville—is at its starkest: a single tube undulating over the landscape, hovering four feet above the earth, thanks to a series of slim, almost invisible supports holding the brass in place. Judging from the simplicity of materials she employs, Overton would be easy to categorize as a minimalist. In one recent New York show, she covered a back wall with fresh cedar boards and filled a tub with water. Here, a single line makes its way across an empty landscape.Download PDF Town & Country
A new sculpture by Virginia Overton, stretching nearly 500 feet, will greet visitors to Storm King Art Center when it opens Apr. 2 for the 2014 season. The commissioned work consists of a 488-foot-long brass tube that stretches across the landscape of the 500-acre sculpture park in Mountainville, N.Y. Standing atop steel rods, the tube will appear to float above the tall grasses as they grow during the coming months and hide the supports. The show officially opens May 3 and will remain on view through Nov. 9.Download PDF Art in America
Titled as the raw minimal activity of catching fish with lines and fish hooks or spears through an opening in the ice on a frozen body of water, the exhibition curated by Darren Flook- recently appointed new director of Max Wigram Gallery in London- looks at the work of five artists spanning five decades since the mid-20th century. Virgina Overton works with materials, placement, and sourcing: as the artist says, "the pieces are what they are, real things in the world, not extraneous objects to be placed on a pedastol."Download PDF
Miami's 1111 Lincoln Road is the perfect venue for a new showing of the ultimate collection of art cars during Art Basel Miami Beach and Design Miami. Exploring the history of auto-art mash-ups, Piston Head: Artists Engage the Automobile arranges a dizzying selection of contemporary art cars around the ramps and offset columns of Herzog & de Meuron's award-winning multi-use car park space.Download PDF Wallpaper*
Virginia Overton's two-piece show consists of the most suspect-looking hot tub since “Hot Tub Time Machine” — a tired drip coffee maker ineffectually filling a shabby bathtub — and the year's most transporting and best-smelling installation to date: A wall covered with odorous and richly colorful planks of cedar sourced from her family's Tennessee farm that, taken with the tub, makes for a romantic DIY portrayal of rural poverty in prime Chelsea. — Benjamin SuttonDownload PDF Art Info
Entering the New York sculptor’s spare but strong installation, the smell hits you first—the sylvan aroma of the cedar planks that line the back wall. Then you hear gurgling. It sounds a bit like a brook, but it’s an electric coffeemaker, siphoning hot water from a glass pot into an old bathtub.Download PDF The New Yorker
Given free reign of the Kitchen for her solo exhibition, Virginia Overton presents a suite of pithy post-Minimalist sculpture installations that deftly repurpose various salvaged building materials found on-site. Monumental yet tentative, Overton's underestimated constructions pulse with tension between careful design and random accident; they are site-specific without being limited to or by it.Download PDF
FOR A SOLO SHOW in January at the Power Station in Dallas, Virginia Overton performed her duties with Southern grace. She transported many of the installation materials herself in a 1984 Chevrolet Deluxe pickup truck. She mounted a blue lightbox
in the vehicle’s bed and parked it in the gallery, creating a beacon for a tailgate party or a rave. When the proprietors told her that locals might not make her Sunday opening because the Cowboys were playing that day, Overton incorporated into her exhibition a TV showing the game. They said it was the foundation’s best-attended opening yet.
In developing her latest series of sculptural light pieces, 39-year-old artist Virginia Overton simply followed her instincts. When a new copy machine arrived at the studio of artist Wade Guyton, whom she assists, Overton acted on the urge to stick her head in the machine and press COPY. “Don’t tell my boss,” she laughs. What may seem like a bit of studio hijinks is actually endemic of Overton’s gutsy and resourceful creative process.Download PDF Interview Magazine Virginia Overton
Three American artists from different generations strike a similar (if muted) chord in this exhibition, which brings together two wall- bound felt sculptures from the mid-1970s by Robert Morris (b. 1931) with several 2010 works by Virginia Overton (b. 1971) and by Jacob Kassay (b. 1984).Download PDF