The Village Voice , 19—25 April Wientraub, Linda. Cotter, Holland. Sculpture 24, no. Glueck, Grace. Harris, Jane. Village Voice , 16—22 March Voice Choices, 8. Knight, Cristopher. Barbara A. Art News June : Miles, Christopher. Artforum May : , illustrated. Morgan, Robert C. Sheets, Hilarie M. Silver, Joanne. Boston Herald , 11 February Vander Weg, Kara.
The New York Times , 14 May The New York Times , 18 June Pincus, Robert L. San Diego Union-Tribune , 10 October Baird, Daniel. Brooklyn Rail , June—July Douglas, Sarah. French, Christopher. Glass Tire online journal , Gertner, Jon.
Pantsios, Anastasia. Cleveland Free Times , 12—18 November Smith, Roberta. The New York Times , 11 April Tsai, Eugenie. Millis, Christopher. Myers, Holly. Cohen, Mark Daniel. Review , 1 April Gouveia, Georgette.
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Boston: Museum of Fine Arts, , illustrated. The Flag Art Foundation exhibition catalogue. Boston: The Institute of Contemporary Art, 40—41, illustrated. Tara Donovan: Fieldwork exhibition catalogue. Colgate Alumni Collect exhibition catalogue. Text by Anne Huntington. Gray Matters exhibition catalogue. Lorvik Waterhouse, Ann-hege. Med Kunst i Barnehagen. Bergen, Norway: Fagbokforlaget, 40, illustrated. Tara Donovan: Compositions exhibition catalogue.
Text by Suzanne Hudson. New York: Pace Gallery, Adams, Vincanne. Metrics: What Counts in Global Health. Durham and London: Duke University Press, illustrated, cover. Greenwich, Connecticut: Bruce Museum, 32, 63, illustrated.
Paderborn, Germany: Wilhelm Fink, , illustrated. Brown, Bill. Other Things. Chicago: The University of Chicago Press, no. Tara Donovan: Drawings Pins exhibition catalogue. Texts by Paul W. Brewer and Jonathan T. Wonder exhibition catalogue. Bruno, Giuliana. Surface Matters of Aesthetics, Materiality, and Media. Chicago: The University of Chicago Press, 96, , illustrated. Tara Donovan exhibition catalogue. Interview by Jutta Matter; text by Marietta Franke. Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World.
Minneapolis: University of Minnesota, , illustrated. Text by Jennifer J. Currents Tara Donovan exhibition catalogue. Texts by Chuck Close and Brady Roberts. Milwaukee: Milwaukee Art Museum, Davidson Collects: Writers Respond to Art.
Texts by Brad Thomas, Jessica A. Cooley et al. Davidson, North Carolina: Davidson College, 96—97, illustrated. Decade: Contemporary Collecting — exhibition catalogue. Texts by David Pagel and Heather Pesanti. Smith et al. London: Scala Publishers, 34, illustrated. Tokyo: The National Art Center, illustrated. Phenomenal: California Light, Space, Surface exhibition catalogue. Text by Jonathan T. New York: The Pace Gallery, Australia: Adelaide Festival of Arts, 20—27, illustrated.
Texts by Arne Glimcher et al. New York: The Pace Gallery, illustrated. Morineau, Camille. Paris: Centre Pompidou, 91, illustrated. Fort Lauderdale: Museum of Art, 59, illustrated. Cross, Susan and Denise Markonish, eds.
Sol LeWitt: Views exhibition catalogue. Elles centrepompidou exhibition catalogue. Green Light exhibition brochure. Johnson Museum of Art, Cornell University, illustrated.
Some other exhibitions at Pace Gallery include:. Although many of Donovan's exhibitions were held by Pace Gallery, she also had her work showcased elsewhere, one of which was Rice Gallery in a show called Haze that ran from November 6 to December 14, For this show she created an installation piece made of everyday materials such as straws, toothpicks, pencils and scotch tape.
Work Donovan's work uses everyday manufactured materials such as Scotch tape, Styrofoam cups, Paper plates, Toothpick, and drinking straws to create large scale sculptures that often have a biomorphic quality.
Her sculptures must be assembled and disassembled carefully, which sometimes involves an extremely tedious process. With regards to her artistic process, Donovan explained that she chooses the material before she decides what can be done with it. She noted in an interview that she thinks "in terms of infinity, of [the materials] expanding. Taking up most of the galleries front room it was made with the assistance of friends at Virginia Commonwealth University in Richmond and consisted of rolls of tarpaper that was ripped up and placed on the floor.
The resulting structure was approximately two feet tall and thirteen and a half feet by seventeen and a half feet in length and width. On her piece Donovan said "I'm playing around with the idea of mimicking nature by referencing the organic processes through which things actually grow.
I want to create the feeling that it could take over the space in the way mold could. Click Here to see a list of solo and group exhibitions ad well as rankings over the years. By experimenting with the more phenomenological aspects of a material, my process develops through a kind of dialogue that leads to a specific repetitive action e.
The breadth and diversity of the consumer landscape has expanded to such a degree that the supply of materials that can be adapted to an artistic context seems limitless. The idea that art can be manufactured or that it can radically complicate the standard notions of value attached to mass-produced objects is no longer a point of serious contention in contemporary debates.
This meeting was a breakthrough show for Donovan that led her to more opportunities and shows in and out of NYC. She quickly acquired a reputation of a young star in the world of art. A true refreshment to her contemporary scene that seemed to be stagnating a bit, Donovan's work used everyday manufactured materials such as scotch tape, styrofoam cups, toothpicks and drinking straws to create large scale sculptures that often had a biomorphic quality.
These were often a result of a tedious process as her compositions needed to be assembled and disassembled carefully. Interestingly, Donovan stated on a couple of occasions that she chooses the material before she decides what can be done with it [2] , which is a very unorthodox approach to making art - but then again, her entire practice was always highly unconventional so the initial method is not such a surprise to anyone who knows this artist's work.
Perhaps Donovan's colleague Chuck Close explained Tara's fondness of eccentric techniques the best: At this particular moment in the art world, invention and personal vision have been demoted in favor of appropriation, of raiding the cultural icebox. To me, it represents a gutsy move.
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