![]() You’re looking at a seed of the now MacArthur Genius’ vision of transformation through aggregation. It’s got nothing on the scale and complexity of light and form employed in the rest of Donovan’s work-but don’t hold it against her, she was barely 20 years old when she made it in 1991. Tucked in the corner, a small cement square is set on a pedestal, its center tightly packed with protruding rubber tubules. We will leave you with one last, tip, though: When you’ve circled through it all, come back to the the first gallery from the main lobby and look immediately to your left. “There’s a visual shift that happens in all of my work that isn’t really apparent in a photograph that is kind of a part of it all,” Donovan says. Suffice to say, we encourage you to take your time. We’ll stop there, because there’s joy to be found in the surprise and discovery of moving through the exhibition. They even seem to take on hints of discoloration in yellow, blue, and green, like the copper-stained dust of the Beehive State’s high desert. Altogether, the resulting shapes resemble the water-sculpted hoodoos of southern Utah. “It’s just not contained to simply a ‘sculpture.’”Īround the corner, towers of stacked styrene index cards are veined with rings of fanned-out right angles, like an infinitude of hands of playing cards. “She has an approach to art-making that is incredibly far-reaching, and in that way it engages with architecture, it engages with the landscape, it engages with the environment,” says Burnett Abrams. Conversely, in “Transplanted” we see the cohesion of many things into one. In the prints, we see separation and upset. The pairing shows the relation of distinct pieces to each other in completely opposite ways. It’s surrounded by relatively jarring untitled paper prints that Donovan created in 2008 by inking shards of shattered glass. Everyday materials like drinking straws, tooth pics and needle pins are elements used by American artist Tara Donovan, when she creates her amazing sculptura. ![]() In the next room, the gallery-consuming sculpture “Transplanted,” first created in 2001, is an aggregation of brown tar paper that has been ripped to expose imperfect edges and stacked at varying heights and widths, suggesting, maybe, a mountainous landscape, undulating ocean, or topographic map. “She’s using one thing over and over and over again, and instead of getting repetition and predictability, you get something completely unfamiliar. “That is something that happens in all of the works,” says Burnett Abrams. ![]() Courtesy of the artist and Smithsonian American Art Museum. “Haze” is lent the illusion of organic shape by way of the straw’s placement, as if massaged into form by the hand of a clay sculptor, and by the light of the room, which reveals the disposable plastic’s off-white iridescence. The towering form is in fact “Haze,” an installation comprised of countless, stacked drinking straws, first realized in 2003. When viewers enter MCA’s first gallery, they’re greeted with what feels-to this Coloradan, at least-like a Trail Ridge Road-blocking snowbank, topped with a jagged drift, dirt, and pollution settled onto amorphous white sides, and veined by translucent, reflective ice.īut none of the above is there.
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