Karen Gover

Karen Gover teaches philosophy at Bennington College, Vermont, with areas of specialization in Continental philosophy, Aesthetics, and Ancient Greek philosophy. She studied English and Philosophy with honors at the University of Richmond, and received her PhD from Penn State University with a dissertation on Heidegger and Greek Tragedy. She has published scholarly articles in International Philosophical Quarterly, the Journal of the British Society for Phenomenology, the Journal of Aesthetics and Art Criticism, and the Journal of Aesthetic Education.

Gover is the recipient of a grant from the German Academic Exchange service, she was a fellow at Williams College's Oakley Center for the Humanities, and she is the 2011 recipient of the John Fisher Memorial Prize in Aesthetics.

Her art criticism has appeared in Sculpture Magazine, Ceramics: Art and Perception, and artcritical.


More Articles by Karen Gover


Anthony Caro, End Up, 2010. Steel rusted, cast iron and jarrah wood.?The artist, courtesy of Mitchell-Innes & Nash, New York. Photograph: The Metropolitan Museum of Art/Wilson Santiago

Sir Anthony Caro: 1924-2013

Thursday, October 24th, 2013

by way of tribute to the British sculptor who died today, a review from 2011


Christopher Kurtz, Litany, 2012. Bent and hand-carved maple, oak, cedar, and paint, 64 x 156 x 60 inches. Courtesy of Tomlinson Kong Contemporary

Carpentry at the Service of Art: Christopher Kurtz at Tomlinson Kong

Tuesday, September 4th, 2012

Four-piece sculpture show runs on Bowery through September 8


Richard Smith, Double Box, 2010. Acrylic on canvas, 36 x 76 inches, diptych. Courtesy of Flowers Gallery

Richard Smith at Flowers New York

Friday, April 2nd, 2010

Richard Smith is best known for the synthesis of two seemingly antithetical movements: Pop Art and Abstract Expressionism.


Erick Johnson, Smiles of a Summer Night 2009. Oil on canvas, 16 x 20 inches. Courtesy of Heskin Contemporary.

Erick Johnson Parallelogram Paintings at Heskin Contemporary

Tuesday, February 2nd, 2010

Once the complexity of the paintings’ under-layers have revealed themselves, we are in a position to appreciate the way in which these paintings offer up to us a visual metaphor of their own making.


Jack Pierson Her ancient solitary reign 2009. Metal, wood and plastic, 109 x 129 x 4-3/4 inches. Cover NOVEMBER 2009 ABSTRACT #10 2008. Metal and paint, 43 x 68 x 48 inches. Courtesy Cheim & Read.

Jack Pierson at Cheim & Read

Tuesday, November 3rd, 2009

We wonder what these signs used to say when they were part of something bigger—a word, a world.


Nanon 2009. Reinforced clay on paintied MDF plinth, 73 x 33-1/2 x 25-3/4 inches. Courtesy Matthew Marks Gallery

Rebecca Warren: Feelings at Matthew Marks Gallery

Saturday, October 24th, 2009

She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.