Last Seen Blogs
Photo
Tara Donovan
Nebulous, 2002, scotch tape, 15' 9" (H) X 29' 9.5" (W) X 3.5" (D)
0 notes
Photo
Tara Donovan
Lure, 2004, monofilament (fishing line), 2 1/2"(H) x 10'6"(W) x 26'(D)
0 notes
Photo
Tara Donovan
Untitled, 2019
Untitled, 2018, Mylar, tape, and hot glue, 72" x 60" x 5-1/2"
Fieldwork exhibition
0 notes
Photo
Tara Donovan
Untitled, 2018, plastic tubes
Untitled, 2017, Plastic tubes on Corian base
https://www.pacegallery.com/artfairs/the-armory-show-3/
0 notes
Photo
Tara Donovan
Untitled (Mylar Tape), (Detail), 2007, polyester film tape, dimensions variable
0 notes
Photo
Tara Donovan
Colony, 2005, Pencils, 4" x 136" x 113-1/2" (10.2 cm x 345.4 cm x 288.3 cm), overall installed
0 notes
Photo
Tara Donovan
Untitled (Plastic Cups), 2006, plastic cups, installation dimensions variable
https://www.ignant.com/2017/06/26/tara-donovan-transforms-plastic-cups-into-a-geomorphic-sculpture/
https://www.pacegallery.com/journal/tara-donovan-in-hyperobjects-at-ballroom-marfa/
Interview: https://aestheticamagazine.com/interview-with-tara-donovan-artist-edinburgh-art-festival/
0 notes
Photo
Tara Donovan
Untitled (Styrofoam cups) , 2003/2008, styrofoam cups and glue, installation dimensions variable
https://www.pacegallery.com/artists/tara-donovan/
0 notes
Text
“part of my job is to think 7 generations down the road, what am i giving to that generation? am i making this place more crowded or am i making space?”
activist, environmentalist
early interest in science, shared enthusiasm, bringing attention
excited and energised by the end of sitting in the metal class, had something tangible in her hand, had the tangible evidence of what she had learned and done in the past 4 hours
background in science wasnt lost time, still informs her work, balance between science and art, precision and discovery
art, through the lense of science, set up a problem, experiment, you have a theory, and you solve it or you dont
curiosity, question, had to come up with a problem and answer it and find a solution through the making
found that rigid, so changed, loosened up
need for a rigid structure, “i had already twisted it in isometric view and seen the birds eye and the worms eye and the side views in my mind”
took away a little bit of the magic, curiosity, or sense of discovery, why she moved away from such a need for rigidity, wanted to know what could be discovered during the process, otherwise what you see is what she expected to get
consciously looking at the world through the lense of a jeweller, how are things connected, to her jewellery is all about connections. shifting scale was a matter of looking at her own repertoire of connections and understanding how to translate that into another material.
my eye has not been filled by my own work in a satisfactory way, satisfy my own eyes when i look at my own work, a selfish motivation as an artist, selfish impulse, still trying to find satisfaction...
jewellery scale techniques for a large scale, taking a year, planning, scale, time
upscale technique if upscaling the work, found that profound, everybody has their speed, you cant know until you know, light bulb moment
coffee cup lids
dedication to beauty runs deep, as a jeweller, really wanted, in the scale shift, from a distance, all views might be beautiful, but the distant view, 20 ft, would be intriguing and beautiful, see the big picture, a little closer, mid range, somethings wrong, somethings on the surface of the coffee lids, questioning what youre seeing, 10 ft, questioning the colour, whats that brown stuff? upclose, lipstick, coffee, caramel, milk solids crumbling off - all of that, to Susie, is jewellery, one of the reasons shes working with trash, it elevates it to a place of beauty, but everything has a life span, these coffee lids and the plastic she is using, in the best cast scenario they will live for 20 years, then they will start to decompose, and that was really on purpose.
“i was running away from geology, because i could of been hired by a mineral exploration team in order to determine what land was good to start digging on”
she just could not sell out the land, there was no way
but she was buying materials from these companies, then came a moment of cyclical understanding, the thing i didnt want to do, is exactly what i ended up doing. understanding the ramifications of all of the jewellery she had made from the moment she entered school to the moment of reading the article.
lense shift... making jewellery in a hierarchy, helps people think about the material, acknowledging that it will have to go back into the supply chain again, its going to become irrelevant again, we shouldnt put our own design ego above the fact that this material is going to have a longer life than us.
she could understand the facts, that would of maybe paralyse her or prevent her from making, but it handed her a license to say, you need to solve problems through your studio. as a studio artist, solve the problem there, dont run away from it, stay there... this shaped Susie Ganch, started thinking about her own footprint as a jeweller, an artist, a sculptor, what does she want to leave behind? as she decomposes, she would like her work to do the same...
“The only way for me to survive is to participate and use my lack of knowledge to find and so to put myself in the position of constant learning and so every time I do the project I’m hoping just hoping somebody will teach me another facet of this thing im trying to find in my periphery [...] it feels like the most compelling thing [...] so it’s from a place of not knowing that I’m propelled forward and to put myself in that position and to be receptive and not be the one that says i know this let me tell you, let me tell you how it is, rather, hey, we all know something, lets teach each other, teach me something please, because i want to know.”
https://soundcloud.com/make-time/susie-ganch-making-for-the-seventh-generation
1 note
·
View note