Donovan Valdes
Contributor post by Lisa Solomon tara donovan - bluffs - made out of buttons/glue happy new year poppytalk ! i spent alot of time this winter break thinking about what artists i want to add to my collection. i thought i'd kick off 2012 with another all time favorite... and something a bit more installational. i think it's safe to say that material is a very important construct in contemporary art. what art is actually made out of informs the meaning and content of the work. a "painting" made with something other than paint [say food] starts to relate to a whole host of other issues and ideas. if you paint with chocolate then not only are you twisting the idea of what a painting is -- the smell, and the relationship to the history of chocolate or candy making, not to mention the sheer delight in the surprise of an alternate use for chocolate can enhance or enrich your own and your viewer's experience with the work. tara donovan - bluffs - made out of buttons/glue - detail there are a whole host of artists using "alternate" materials these days, but one of my favorites [hands down] is tara donovan. tara donovan - colony - cut pencils and glue - detail tara donovan - colony - cut pencils and glue part of what draws me in particular to ms. donovan's work is the sheer scale. she uses really mundane items - pencils, buttons, styrofoam and plastic cups, tape, pins, etc. which generally are pretty diminutive in size and sculpts them in to massive pieces and environments. tara donovan - cup installation [with people so you can get a sense of scale] tara donovan - plastic cup installation i love that they are organic - that she is using stuff that we encounter in our daily life to make things that feel cellular. the play between using these familiar, yet industrialized materials to make biomorphic and almost genetic feeling shapes and environments intrigues me. tara donovan - cute made out of pins - held together solely with gravity and placement i also like that they are SO grand, and yet still retain a sense of humor. and a sense of hand. these are meticulously constructed. above is a complete and total nod to big boy minimalist art in which there were a lot of cubes being made [donald judd, robert morris, david smith] - but theirs were stable, hard, manly. hers are delicate and ultimately precarious - because they could fall apart at any moment. hers relate much more to eva hesse. tara donovan - made from fishing line these are indeed minimal - in color and usually in shape - something is repeated over and over until it becomes another, but they are also something else. and i think that is no easy feat. tara donovan - transplanted - detail she said that she looks at a material and wonders how she can transform it. that the material comes first and then the sculpture/installation is formed. these are all delicate and precarious and yet also unnerving, right? that juxtoposition is intriguing. tara donovan - transplanted - made from tar paper of course the fact that these materials are usually "throw away" things that we just use and discard - basically don't think about in the least is also what makes these so powerful. they hint of the enormity of our wastefulness. how we take objects for granted and how ultimately anything [yes really anything] can become beautiful and mysterious if we take the time to transform it. that is so powerful. that idea. so what would i want? i'd be happy [yet again] with any of these, but a paper plate sculpture would suit me. tara donovan - made from paper plates - with detail tara donovan - haze - plastic straws on one wall tara donovan - haze - plastic straws - whole room or i wouldn't say no to a room of plastic straws either. since this is make believe i could have a giant room and have her fill all four walls. that would be an intensely beautiful room to just sit quietly in i think. keep track of my growing collection on pinterest. looking at the board i REALLY am stuck on a color scheme. maybe i'll try to break out of that next time. or maybe not... .................................. lisa solomon is a mixed media artist who lives in oakland, CA with her husband, young daughter, a one eyed pit bull, a french bulldog, a cross-eyed cat, a 3 legged cat, and many many spools of thread. she moonlights as a college professor, a graphic designer, and is a partner in MODify/d a crafty biz that up/cycles and re/purposes discards from the fashion industry.
Let them know how special they are with a Names Stories® art print. There’s a world of meaning and inspiration hidden in our names and Name Stories® artwork is a gift of affirmation to those who matter most. A person's name can shape how they perceive themselves; names also contribute to the formation of a person's identity. Donovan’s narrative is a unique story full of hidden treasures that can instill a sense of pride in the past, belonging in the present, and purpose for the future. Names Stories® is not only a timeless keepsake of Donovan’s name, but a thoughtful reminder of who Donovan is: today, tomorrow, and always. Made-to-order in California, Florida and Oregon.
Michael Donovan의 작품들
at ICA Boston
Donovan Davis’s is a Canadian based artist currently residing in Toronto. He has over two decades dedicated to deconstructing and reconstructing photo based images. His photo collages can be found in some of the world's most prestigious hotels, such as The Bisha, The Londoner, and The Hazleton Hotel. His work is also favoured by some of Canadas' top interior decorators and designers. Donovan has two published books of his works, which are part of the permanent collection in the National Library of Canada and Archives.
Barbara Kroll
Michael Donovan
In my artwork, I sought to embody the tender embrace between humanity and nature. The use of oil paints allowed me to create a rich, textured surface, where...
Let them know how special they are with a Names Stories® art print. There’s a world of meaning and inspiration hidden in our names and Name Stories® artwork is a gift of affirmation to those who matter most. A person's name can shape how they perceive themselves; names also contribute to the formation of a person's identity. Donovan’s narrative is a unique story full of hidden treasures that can instill a sense of pride in the past, belonging in the present, and purpose for the future. Names Stories® is not only a timeless keepsake of Donovan’s name, but a thoughtful reminder of who Donovan is: today, tomorrow, and always. Made-to-order in California, Florida and Oregon.
Tara Donovan: Drawings (Pins) The Pace Gallery 510 W 25th St, NYC Feb 12, 2011 - Mar 19, 2011 See website for images from this current exhibition: The Pace Gallery In her latest series, "Drawings (Pins)", on view this month at the Pace Gallery in Chelsea, shimmering metallic "canvases" are composed of dressmaker pins — tens of thousands of them. The cumulative effect is almost painterly. While these works are two-dimensional, they deal with the same issues as her "site-responsive" sculptures, as she calls them: "It’s all about perceiving this material from a distance and close up and how the light interacts with it." -- Julia Curtin amarcordian (more) The new series, which in fact arose from a stretch of print-making, is a perceptual delight, with light striking the pins in such a way that some clusters appear as inky black, others as gray, still others as shimmery silver, like a lake glancing in the setting winter sun. -- ARTINFO (more) While the majority of the drawings on view are visual fields that radiate from different light sources (determined by the density of pins on the surface area), two of the earliest works in the show depict clusters of circular organic shapes evoking cellular or molecular forms. -- The Pace Gallery | Pace Press Release (more- pdf) Tara Donovan.mov (Video: PacePrints) Tara Donovan builds large, labor-intensive, and site-specific installations out of everyday materials such as scotch tape, drinking straws, paper plates, roofing paper and Styrofoam cups. Donovan takes these materials and grows them through accumulation. The results are large-scale abstract floor and wall works suggestive of landscapes, clouds, cellular structures and even mold or fungus. In her words, "it is not like I'm trying to simulate nature. It's more of a mimicking of the way of nature, the way things actually grow." -- Pace Prints Tara Donovan Artist Portfolio (more) ~~~~~~ What appeared to be a question of object/non-object has turned out to be a question of seeing and not seeing, of how it is we actually perceive or fail to perceive “things” in their real contexts. Now we are presented and challenged with the infinite, everyday richness of “phenomenal” perception (and the potential for a corresponding “phenomenal art,” with none of the customary abstract limitations as to form, place, materials and so forth) – one which seeks to discover and value the potential for experiencing beauty in everything. -- Robert Irwin, Being and Circumstance: Notes Toward a Confidential Art ~~~~~~ A scattershot history of Tara Donovan's artwork: Tara Donovan, Untitled (Toothpicks), 2004 (Image: Andrew Russeth) In the mid-1990s, Tara Donovan was experimenting in her studio when serendipity struck. She knocked over a big box of toothpicks, picked it up, and then noticed that the spilled contents had latticed into a shape that echoed the perfect corner of their container. -- Jen Mergel and Nicholas Baume, in Tara Donovan (more, including an excerpted interview from the book) Tara Donovan .|. Toothpicks .|. 2004 (video: reel aesthete) Donovan knows, too, when to manipulate illusions. It would be a mistake to ask her materials to mean something specific, to distinguish them from a model landscape in a science museum. They do not raise challenging associations with America's social fabric as process or wasteland… They do not reimagine a gallery opening at which the same opaque plastic would serve ecologically correct wine… Rather, their impulse is simultaneously domestic and formal, like the visual overflow of a dream. -- John Haber (more) Untitled (Styrofoam Cups) (Image: mike) My notion of the “field” is essentially co-opted from discussions of high modernist abstract painting, in which the edge of the canvas is understood as the only delimiting factor in what would otherwise be an infinite plane extending in all directions. For me, the architecture of a space is the only delimiting factor of my work. I don’t really invest too much thought into making precise distinctions between what is a sculpture, installation, or landscape. I think that debate and the resulting collapse of such categories occurred in the ’60s and ’70s, and contemporary artists such as myself get to enjoy the fruits of that polemic. -- Tara Donovan "Prelude: A Discussion with Tara Donovan" (Art:21) (more) Tara Donovan, Lever House (Image: Peter Sealy) The effect common to every installation–wrought in each instance out of workaday materials–is the protean appearance of its objects from afar. From across the gallery, Untitled (Mylar Tape) (2008) evokes not the frank banality of its medium, mentioned in the title, so much as a commingling of nacreous shellfish or a cluster of seaborne invertebrates, huddled and glinting against the gallery walls. Only on closer inspection do they reveal themselves to be mere loops of reflective tape. -- Ara H. Merjian Frieze (more- pdf) Tara Donovan at Lever House, NYC (May 2009) (video: ballenato63) As the team gathered around to look at her handiwork, which remained contained in a neat rectangle by the wooden frame, the broken glass began to crackle and pop, like thousands of Rice Krispies. -- Carol Kino, in "The Genius of Little Things" (New York Times) (more) View New York Times slideshow Preserving Art: Untitled (Plastic Cups) Indianapolis Museum of Art on ArtBabble "Haze" 2003, a giant installation of clear drinking straws, came crashing down when installed at Ace Gallery in New York a few years back–a far cry from the danger of a looming Richard Serra lead prop, to be sure, though a way bigger mess to clean up. Still, the point isn't just about this particular moment of literal undoing, but rather the way Donovan's work courts demise, a death drive no less insistent for being rendered so exquisitely. -- Suzanne Hudson ArtForum (more- pdf) Tara Donovan on Wikipedia Tara Donovan at The Pace Gallery Tara Donovan at Stephen Friedman Gallery Tara Donovan at the Met (past exhibition)
Archival pigment print Signed in black ink, recto 14 x 11 inches, sheet size 10 x 10 inches, image size This artwork is offered by ClampArt, located in New York City. Born in Poland in 1942 as Armin Hagen Freiherr von Hoyningen-Huene, Peter Berlin is a relative of the celebrated fashion photographer George Hoyningen-Huene (1900-1968). Raised in Germany, Peter Berlin received post-secondary education as a photo-technician, and in his early 20s worked as a celebrity portraitist for German television. However, it was around this time that he curiously began designing and sewing his own skin-tight clothing which he would wear as he cruised the parks and train stations in Berlin, Rome, Paris, New York, and San Francisco. After several long-term stays on the east coast of the United States, Peter Berlin eventually moved to San Francisco in 1969, and became a fixture on the steep streets with his signature look and perpetual posing. He soon began producing films and starred in the now iconic “Nights in Black Leather” (1973), co-directed by Richard Abel. Berlin then produced, directed, and starred in “That Boy” the following year, and made four shorter films through the mid- to late-1970s, while publishing and selling his photographic self portraits. Peter Berlin was the subject of several Robert Mapplethorpe photographs, three drawings by Tom of Finland, and at least one portrait by Andy Warhol, attesting to his worldwide celebrity.
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