Monochrome: Calder and Tara Donovan

At times reminiscent of biological structures and geological formations, Tara Donovan’s work elevates mass-produced industrial materials, such as tar paper, drinking straws, or the silvery metal rings of slinky toys, into mesmerizing installations. Her cumulative process transfigures the mundane into exalted new forms. Donovan chose one of Alexander Calder’s last works, the distinctive Mountains (1:5 intermediate maquette, 1976), as a touchpoint for this exhibition. Like the vast majority of the legendary sculptor’s masterpieces, Mountains is black. Donovan explains, “My primary (though not sole) focus on the color black references Calder’s use of black in many of his works as a neutralizing force that flattens sculptural shapes.” When asked about the role of color in his work, Calder replied, “Well, it’s really secondary. I want things to be differentiated. Black and white are first—then red is next—and then I get sort of vague.” Donovan likens her use of a singular object or material to a different kind of monochromatic practice, one animated by light. Viewers are continuously alert to the transformations brought by the subtle glimmer of tar paper, the sheen of mylar, or the bright reflection of silvery metal. A different animation occurs in Calder’s mobiles, as the moving cacophony of elements delineates changing outlines, clusters, and forms.