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Donovan returned to her studies and earned her [[Master of Fine Arts|MFA]] at [[VCU School of the Arts|VCUarts]], part of [[Virginia Commonwealth University|Virginia Commonwealth University (VCU)]] in 1999, when she also received her first interview in ''Articulate Contemporary Art Review''. Upon graduating, she mounted her first major museum solo exhibition at the Corcoran Gallery of Art’s Hemicycle Gallery in Washington, DC in 1999, where she presented ''Whorl'', an installation made out of approximately 8,000 pounds of nylon fiber that was bundled into units and then spread out on the floor in an expanding spiral pattern.<ref name="Joanne Lewis 1999">{{cite news | author= Joanne Lewis | title= An Artist With the ‘Whorl’ At Her Feet | publisher=Washington Post | date= December 1999}}</ref> Soon after, she relocated to New York and was invited to participate in the 2000 Biennial Exhibition at the Whitney Museum of American Art, where she presented a floor installation (''Ripple'', 1998) made of cut electrical cable.<ref name="Christian Viveros-Fauné 2000">{{cite news | author= Christian Viveros-Fauné | title= Whitney Biennial | publisher=New York Press | date= April 2000}}</ref>
Donovan returned to her studies and earned her [[Master of Fine Arts|MFA]] at [[VCU School of the Arts|VCUarts]], part of [[Virginia Commonwealth University|Virginia Commonwealth University (VCU)]] in 1999, when she also received her first interview in ''Articulate Contemporary Art Review''. Upon graduating, she mounted her first major museum solo exhibition at the Corcoran Gallery of Art’s Hemicycle Gallery in Washington, DC in 1999, where she presented ''Whorl'', an installation made out of approximately 8,000 pounds of nylon fiber that was bundled into units and then spread out on the floor in an expanding spiral pattern.<ref name="Joanne Lewis 1999">{{cite news | author= Joanne Lewis | title= An Artist With the ‘Whorl’ At Her Feet | publisher=Washington Post | date= December 1999}}</ref> Soon after, she relocated to New York and was invited to participate in the 2000 Biennial Exhibition at the Whitney Museum of American Art, where she presented a floor installation (''Ripple'', 1998) made of cut electrical cable.<ref name="Christian Viveros-Fauné 2000">{{cite news | author= Christian Viveros-Fauné | title= Whitney Biennial | publisher=New York Press | date= April 2000}}</ref>


==Exhibitions==
Donovan’s first major commercial gallery exhibitions were mounted at [[Ace Gallery]] in New York and Los Angeles. Earlier, from 1999 to 2000, Donovan exhibited ''Whorl'' at Hemicycle Gallery, Corcoran Gallery of Art in Washington, DC. Upon receiving the call that she would be exhibiting this site-specific installation, Donovan is quoted as saying "I screamed and ran around in circles ... What do you think?"<ref>{{cite web|last1=O'Sullivan|first1=Michael|title=Tara Donovan's Power Puff 'Whorls'|url=https://www.washingtonpost.com/wp-srv/WPcap/1999-12/17/032r-121799-idx.html}}</ref> In a review of that exhibition, art critic Jessica Dawson observed that "Like ''Whorl'', the artist's past works transformed outsize quantities of everyday materials—toothpicks, roofing felt, rolls of adding machine paper—into the unexpected: natural formations, seemingly living organisms, topographic maps."<ref>{{Cite web|url=https://www.washingtoncitypaper.com/arts/article/13019186/tara-donovan-whorl|title=Tara Donovan: Whorl|website=Washington City Paper|language=en|access-date=2019-01-18}}</ref> Following ''Whorl'', Donovan showed a series of exhibitions at [[Ace Gallery]] in Los Angeles, CA.
Donovan’s first major commercial gallery exhibitions were mounted at [[Ace Gallery]] in New York and Los Angeles. Earlier, from 1999 to 2000, Donovan exhibited ''Whorl'' at Hemicycle Gallery, Corcoran Gallery of Art in Washington, DC. Upon receiving the call that she would be exhibiting this site-specific installation, Donovan is quoted as saying "I screamed and ran around in circles ... What do you think?"<ref>{{cite web|last1=O'Sullivan|first1=Michael|title=Tara Donovan's Power Puff 'Whorls'|url=https://www.washingtonpost.com/wp-srv/WPcap/1999-12/17/032r-121799-idx.html}}</ref> In a review of that exhibition, art critic Jessica Dawson observed that "Like ''Whorl'', the artist's past works transformed outsize quantities of everyday materials—toothpicks, roofing felt, rolls of adding machine paper—into the unexpected: natural formations, seemingly living organisms, topographic maps."<ref>{{Cite web|url=https://www.washingtoncitypaper.com/arts/article/13019186/tara-donovan-whorl|title=Tara Donovan: Whorl|website=Washington City Paper|language=en|access-date=2019-01-18}}</ref> Following ''Whorl'', Donovan showed a series of exhibitions at [[Ace Gallery]] in Los Angeles, CA.


In 2003, she occupied the entire Ace Gallery space at 274 Hudson Street in New York with a series of ‘site-responsive’ installations, many of which have now come to define the artist’s oeuvre. Examples include ''Haze'' (2003), which is comprised entirely of translucent plastic drinking straws stacked against a wall and buttressed by the adjoining walls to create a monumental frieze with atmospheric effects.The floor installation Nebulous (2002) is made entirely of Scotch tape that has been unspooled and extemporaneously ‘woven’ into interconnected units. Transplanted (2001) expanded upon her previous projects with torn pieces of tar paper in order to create a monumental slab of material occupying a footprint of over 25-feet square. Strata (2000) is another expansive floor installation made of pooled and layered pieces of dried Elmer’s glue. Moiré (1999) consists of large spools of adding machine paper that are manipulated and layered to form radiating patterns that shift with the position of the viewer. Colony (2000) is comprised of cut pieces of standard pencils at various lengths, which are arranged on the floor to suggest the architectural sprawl of urban development. The exhibition received widespread critical acclaim, garnering reviews and profiles in the [[New York Times]], [[Village Voice]], [[Artforum]], [[Art in America]], Flash Art International, and [[W Magazine]], among others.<ref>{{cite web|last1=Smith |first1=Roberta|title=Art in Review: Tara Donovan|url=https://www.nytimes.com/2003/04/11/arts/art-in-review-tara-donovan.html}}</ref><ref name="Lilly Wei 2003">{{cite news |author= Lilly Wei | title= Materialist | publisher=Art in America | date= 2003 | pages=101-103 }}</ref><ref name="David Frankel Summer 2003">{{cite news |author= David Frankel | title= Tara Donovan, Ace Gallery| publisher=ArtForum | date= Summer 2003 }}</ref><ref name="Kim Levin 2003">{{cite news |author= Kim Levin | title= Material Girl | publisher=Village Voice | date= April 2003
In 2003, she occupied the entire Ace Gallery space at 274 Hudson Street in New York with a series of ‘site-responsive’ installations, many of which have now come to define the artist’s oeuvre. Examples include ''Haze'' (2003), which is comprised entirely of translucent plastic drinking straws stacked against a wall and buttressed by the adjoining walls to create a monumental frieze with atmospheric effects.The floor installation Nebulous (2002) is made entirely of Scotch tape that has been unspooled and extemporaneously ‘woven’ into interconnected units. Transplanted (2001) expanded upon her previous projects with torn pieces of tar paper in order to create a monumental slab of material occupying a footprint of over 25-feet square. Strata (2000) is another expansive floor installation made of pooled and layered pieces of dried Elmer’s glue. Moiré (1999) consists of large spools of adding machine paper that are manipulated and layered to form radiating patterns that shift with the position of the viewer. Colony (2000) is comprised of cut pieces of standard pencils at various lengths, which are arranged on the floor to suggest the architectural sprawl of urban development. The exhibition received widespread critical acclaim, garnering reviews and profiles in the [[New York Times]], [[Village Voice]], [[Artforum]], [[Art in America]], Flash Art International, and [[W Magazine]], among others.<ref>{{cite web|last1=Smith |first1=Roberta|title=Art in Review: Tara Donovan|url=https://www.nytimes.com/2003/04/11/arts/art-in-review-tara-donovan.html}}</ref><ref name="Lilly Wei 2003">{{cite news |author= Lilly Wei | title= Materialist | publisher=Art in America | date= 2003 | pages=101-103 }}</ref><ref name="David Frankel Summer 2003">{{cite news |author= David Frankel | title= Tara Donovan, Ace Gallery| publisher=ArtForum | date= Summer 2003 }}</ref><ref name="Kim Levin 2003">{{cite news |author= Kim Levin | title= Material Girl | publisher=Village Voice | date= April 2003
}}</ref><ref name="Julie L. Belcove 2003">{{cite news |author= Julie L. Belcove | title= Material Girl | publisher=W Magazine | date= October 2003 | pages=222-223 }}</ref>
}}</ref><ref name="Julie L. Belcove 2003">{{cite news |author= Julie L. Belcove | title= Material Girl | publisher=W Magazine | date= October 2003 | pages=222-223 }}</ref> A series of solo museum projects followed at venues such as Rice University Art Gallery in Houston, Museum of Contemporary Art San Diego, UCLA’s Hammer Museum, Berkeley Art Museum, Museum of Contemporary Art Cleveland, and the Saint Louis Art Museum, among others.


==Pace Gallery==
A series of solo museum projects followed at venues such as Rice University Art Gallery in Houston, Museum of Contemporary Art San Diego, UCLA’s Hammer Museum, Berkeley Art Museum, Museum of Contemporary Art Cleveland, and the Saint Louis Art Museum, among others. In 2006, Donovan had a show at [[PaceWildenstein|Pace Gallery]] in New York, where she showed an installation, ''Untitled (Plastic Cup)''. This installation was in large scale and resembled a topographic landscape. This was also the third time showing work at this location. The first was in 2005 called ''Logical Conclusions''. The second was a summer group show that same year. In February 12{{snd}}May 19, 2011, Donovan had another exhibition at the same gallery called ''Drawings (Pins)'' where she showcased more than 12 large scale drawings.
In 2005, Donovan joined [[Pace Gallery]] where her work was included in both a summer group show and the group exhibition ''Logical Conclusions: 40 Years of Rule-Based Art'' curated by Marc Glimcher. Her first major solo exhibition at Pace in 2006, [https://www.pacegallery.com/exhibitions/11816/tara-donovan-new-work ''Tara Donovan: New Work''], presented ''Untitled (Plastic Cups)'', an installation of stacks of plastic cups assembled at a scale that suggested a rolling topographical landscape. Later that same year, she presented [https://www.pacegallery.com/exhibitions/11792/tara-donovan-rubber-band-drawings ''Tara Donovan: Rubber Band Drawings'']. She has since proceeded to debut most of her new projects in solo and group exhibitions at Pace and its global affiliate galleries in London, Beijing, Hong Kong, Seoul, Menlo Park and Palo Alto, which include the following (among others):
Some other exhibitions at The Pace Gallery include:


* [https://www.pacegallery.com/exhibitions/11701/light-time-and-three-dimensions ''Light, Time and Three Dimensions'', Pace Gallery, New York, June 28–August 24, 2007]
* ''Tara Donovan: Drawings (Pins)'', Feb 12, 2011{{snd}}Mar 19, 2011 included more than twelve drawings
* [https://www.pacegallery.com/exhibitions/11453/tara-donovan-new-drawings ''Tara Donovan: New Drawings'', Pace Gallery, New York, April 10–May 2, 2009]
* ''Untitled (Mylar)'', May 4{{snd}}April 9, 2011
* [https://www.pacegallery.com/exhibitions/11327/on-the-square ''On the Square'', Pace Gallery, New York, January 8–February 13, 2010]
* ''Beijing Voice 2011: Leaving Realism Behind'', November 9, 2011{{snd}}February 12, 2012
* [https://www.pacegallery.com/exhibitions/11254/50-years-at-pace-art-in-the-twenty-first-century ''50 Years at Pace'', Pace Gallery, New York, September 17–October 16, 2010]
* ''Art Basel Miami Beach'', December 5{{snd}}December 8, 2013
* [https://www.pacegallery.com/exhibitions/11229/tara-donovan-drawings-pins ''Tara Donovan: Drawings (Pins)'', Pace Gallery, New York, February 12–March 19, 2011]
* ''Grounded'', January 17{{snd}}February 22, 2014<ref>{{cite web |url=http://www.pacegallery.com/artists/111/tara-donovan/exhibitions |title=On the Floor|website=Pace Gallery |accessdate=2013-12-20 |deadurl=yes |archiveurl=https://web.archive.org/web/20140103011416/http://www.pacegallery.com/artists/111/tara-donovan/exhibitions |archivedate=2014-01-03 |df= }}</ref>
* [https://www.pacegallery.com/exhibitions/11222/tara-donovan-untitled-mylar-2011 ''Tara Donovan: Untitled (Mylar)'', 2011, Pace Gallery, New York, March 4–April 9, 2011]
* [https://www.pacegallery.com/exhibitions/12668/tara-donovan ''Tara Donovan'', Pace Gallery, New York, May 10–August 15, 2014]
* [https://www.pacegallery.com/exhibitions/12667/tara-donovan-untitled ''Tara Donovan: Untitled'', Pace Menlo Park, May 22–August 23, 2014]
* [https://www.pacegallery.com/exhibitions/12741/tara-donovan ''Tara Donovan'', Pace Gallery, New York, May 9–July 8, 2015]
* [https://www.pacegallery.com/exhibitions/12801/talking-on-paper ''Talking on Paper'', Pace Beijing, April 17–June 18, 2016]
* [https://www.pacegallery.com/exhibitions/12846/tara-donovan ''Tara Donovan'', Pace Palo Alto, January 26–March 26, 2017]
* ''Chewing Gum II'', Pace Hong Kong, February 10–March 11, 2017
* [https://www.pacegallery.com/exhibitions/12851/tara-donovan ''Tara Donovan'', Pace Gallery, New York, February 17-March 18, 2017]
* [https://www.pacegallery.com/exhibitions/12880/tara-donovan ''Tara Donovan'', Pace Seoul, September 6-October 22, 2017]
* [https://www.pacegallery.com/exhibitions/12899/compositions ''Tara Donovan: Compositions'', Pace London, January 24-March 9, 2018]


Donovan has been represented by The Pace Gallery, [[New York City|New York]] since 2005 and by Stephen Friedman Gallery, London since 2007.


In addition to Pace, Donovan’s work has been included in solo and group exhibitions at other galleries including [https://www.krakowwitkingallery.com/tara_donovan Krakow Witkin Gallery] in Boston, [https://www.reynoldsgallery.com/artists/tara-donovan/ Reynolds Gallery] in Richmond, [https://www.perrotin.com/exhibitions/pierre_paulin-paulin-paulin-paulin/2315 Galerie Perrotin] in Paris, [https://www.stephenfriedman.com/exhibitions/past/2007/tara-donovan Stephen Friedman Gallery] in London, and Quint Gallery in La Jolla, among others.
Although many of Donovan's exhibitions were held by The 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, 2003. For this show she created an installation piece made of everyday materials such as straws, toothpicks, pencils and scotch tape.



Donovan also had work as part of the Material Matters exhibition hosted by the Cornell University Herbert F. Johnson Museum of Art in 2005. This show featured the work of 20 artists who highlighted material and process but also drew from vocabulary of conceptual and minimalist art of the '60's and '70's. The featured work was a cube made with thousands of pins held together by friction and gravity.<ref name="Material Matters">{{cite book |last1=Inselmann |first1=Andrea |title=Material Matters |publisher=Herbert R Johnson Museum of Art |location=Ithaca, NY |pages=26-27}}</ref>


==Work==
==Work==

Revision as of 16:57, 17 June 2019

Tara Donovan
Born1969
Flushing, New York
NationalityAmerican
EducationBFA, Corcoran College of Art and Design, 1991
MFA, Virginia Commonwealth University, 1999
Known forSculpture
AwardsMacArthur Fellow, 2008

Tara Donovan (born 1969 in Flushing, Queens in New York City) is an American sculptor who lives and works in Brooklyn, New York. Her large-scale installations, sculptures, drawings, and prints utilize everyday objects to explore the transformative effects of accumulation and aggregation. Known for her commitment to process, she has earned acclaim for her ability to exploit the inherent physical characteristics of an object in order to transform it into works that generate unique perceptual phenomena and atmospheric effects. Her work has been conceptually linked to an art historical lineage that includes Postminimalism and Process artists such as Eva Hesse, Jackie Winsor, Richard Serra, and Robert Morris, along with Light and Space artists such as Mary Corse, Helen Pashgian, Robert Irwin, and James Turrell.[1] [2]


Education and early exhibitions

Donovan's formal art studies began at the School of Visual Arts (New York) in 1987-88.[3]: 139  Donovan received her BFA at the Corcoran College of Art and Design (Washington DC) in 1991. After completing her undergraduate work, she maintained a studio in Baltimore and began participating in group exhibitions at galleries and non-profit art spaces.

Her first major exhibition was ArtSites 96 at Maryland Art Place in Baltimore, where she first presented her toothpick cubes.[4] She also participated in Options 1997 at Washington Project for the Arts, where she presented her first project utilizing torn pieces of tar paper, as well as group exhibitions at Baumgartner Galleries and Numark Gallery in Washington, DC.[5][6] In 1998, Donovan held her first solo exhibition, Resonances, at Hemphill Fine Arts in Washington DC. In the same year, she exhibited New Sculpture at Reynolds Gallery in Richmond, Virginia[7].

Donovan returned to her studies and earned her MFA at VCUarts, part of Virginia Commonwealth University (VCU) in 1999, when she also received her first interview in Articulate Contemporary Art Review. Upon graduating, she mounted her first major museum solo exhibition at the Corcoran Gallery of Art’s Hemicycle Gallery in Washington, DC in 1999, where she presented Whorl, an installation made out of approximately 8,000 pounds of nylon fiber that was bundled into units and then spread out on the floor in an expanding spiral pattern.[8] Soon after, she relocated to New York and was invited to participate in the 2000 Biennial Exhibition at the Whitney Museum of American Art, where she presented a floor installation (Ripple, 1998) made of cut electrical cable.[9]

Donovan’s first major commercial gallery exhibitions were mounted at Ace Gallery in New York and Los Angeles. Earlier, from 1999 to 2000, Donovan exhibited Whorl at Hemicycle Gallery, Corcoran Gallery of Art in Washington, DC. Upon receiving the call that she would be exhibiting this site-specific installation, Donovan is quoted as saying "I screamed and ran around in circles ... What do you think?"[10] In a review of that exhibition, art critic Jessica Dawson observed that "Like Whorl, the artist's past works transformed outsize quantities of everyday materials—toothpicks, roofing felt, rolls of adding machine paper—into the unexpected: natural formations, seemingly living organisms, topographic maps."[11] Following Whorl, Donovan showed a series of exhibitions at Ace Gallery in Los Angeles, CA.

In 2003, she occupied the entire Ace Gallery space at 274 Hudson Street in New York with a series of ‘site-responsive’ installations, many of which have now come to define the artist’s oeuvre. Examples include Haze (2003), which is comprised entirely of translucent plastic drinking straws stacked against a wall and buttressed by the adjoining walls to create a monumental frieze with atmospheric effects.The floor installation Nebulous (2002) is made entirely of Scotch tape that has been unspooled and extemporaneously ‘woven’ into interconnected units. Transplanted (2001) expanded upon her previous projects with torn pieces of tar paper in order to create a monumental slab of material occupying a footprint of over 25-feet square. Strata (2000) is another expansive floor installation made of pooled and layered pieces of dried Elmer’s glue. Moiré (1999) consists of large spools of adding machine paper that are manipulated and layered to form radiating patterns that shift with the position of the viewer. Colony (2000) is comprised of cut pieces of standard pencils at various lengths, which are arranged on the floor to suggest the architectural sprawl of urban development. The exhibition received widespread critical acclaim, garnering reviews and profiles in the New York Times, Village Voice, Artforum, Art in America, Flash Art International, and W Magazine, among others.[12][13][14][15][16] A series of solo museum projects followed at venues such as Rice University Art Gallery in Houston, Museum of Contemporary Art San Diego, UCLA’s Hammer Museum, Berkeley Art Museum, Museum of Contemporary Art Cleveland, and the Saint Louis Art Museum, among others.

In 2005, Donovan joined Pace Gallery where her work was included in both a summer group show and the group exhibition Logical Conclusions: 40 Years of Rule-Based Art curated by Marc Glimcher. Her first major solo exhibition at Pace in 2006, Tara Donovan: New Work, presented Untitled (Plastic Cups), an installation of stacks of plastic cups assembled at a scale that suggested a rolling topographical landscape. Later that same year, she presented Tara Donovan: Rubber Band Drawings. She has since proceeded to debut most of her new projects in solo and group exhibitions at Pace and its global affiliate galleries in London, Beijing, Hong Kong, Seoul, Menlo Park and Palo Alto, which include the following (among others):


In addition to Pace, Donovan’s work has been included in solo and group exhibitions at other galleries including Krakow Witkin Gallery in Boston, Reynolds Gallery in Richmond, Galerie Perrotin in Paris, Stephen Friedman Gallery in London, and Quint Gallery in La Jolla, among others.


Work

File:Tara Donovan's "Untitled" .jpg
Untitled (xxxx)

Donovan's work uses everyday manufactured materials such as Scotch tape, styrofoam cups, paper plates, toothpicks, 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."[17]

In her show at Hemphill Fine Arts Donovan showcased the piece Tar Paper. Taking up most of the gallery's front room it was made with the assistance of friends at Virginia Commonwealth University in Richmond and consisted of 120 rolls of tarpaper that were ripped up and placed on the floor. The resulting structure was approximately two feet tall, thirteen and a half feet wide and seventeen and a half feet long. Another piece that was displayed at the Hemphill Fine Arts is titled Untitled (toothpicks). It was a standing cube constructed with thousands of toothpicks pressed together.[citation needed]

Whorl shown at Manhattan's Whitney Museum of American Art was made out of 100 percent nylon fiber under the name of Allied Signal Product Code 30039. 8,000 pounds of the fiber was bundled and trimmed into tiny puffs that were then piled onto the floor. About 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." The piece spirals out from the center of the room in a fashion similar to Robert Smithson's "Jetty." [18]

Her work was featured in the Whitney Biennial in 2000 and the All Soviet(?). She was the recipient of the Alexander Calder Foundation's first annual Calder Prize in 2005. In 2006 her work was featured in a solo exhibition at The Pace Gallery in New York,[19] the gallery that has represented her since 2005. Donovan presented new works in a 2011 solo show at Pace entitled Drawings (Pins). Donovan installed Untitled (Mylar) in November 2007 at the Metropolitan Museum of Art, New York, made of silver Mylar tape.[20] She was the fourth artist selected by the museum for an ongoing series featuring contemporary artists.

Donovan says of her work, "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."[21] Fellow artist Chuck Close told a reporter that ""At this particular moment in the art world, invention and personal vision have been demoted in favor of appropriation, of raiding the cultural icebox. For somebody to go out and try to make something that doesn't remind you of anybody else's work and is really, truly innovative—and I think Tara's work is—that's very much against the grain of the moment. To me, it represents a gutsy move."[17]

Awards

References

  1. ^ "Contemporary Artist Tara Donovan's Dazzling New Installation Opens at Metropolitan Museum". The Metropolitan Museum of Art. Retrieved 2019-03-19.
  2. ^ "Tara Donovan Talks Process, Inspiration, and Her Place in the Art World". Surface Mag. Retrieved 2019-03-19.
  3. ^ Baume, Nicholas; Mergel, Jen; Weschler, Lawernce (2008). Tara Donovan. United States: The Monacelli Press, a division of Random House, Inc., New York, in association with The Institute of Contemporary Art/Boston. ISBN 9781580932134.
  4. ^ John Dorsey (June 1996). "Humor clearly has its place in MAP's ArtSites 96 show". The Baltimore Sun. Retrieved 2019-03-22.
  5. ^ Michael O'Sullivan (July 1997). "WPA'S LIMITED 'OPTIONS'". The Washington Post. Retrieved 2019-04-11.
  6. ^ Glen Dixon (July 1997). "Bastards of Young, Options 1997". Washington City Paper. {{cite news}}: Cite has empty unknown parameter: |1= (help)
  7. ^ Hobbs, Robert (2002). Reynolds Gallery Fictions in Wonderland. Richmond, Virginia: Raymond Geary and Associates, Richmond.
  8. ^ Joanne Lewis (December 1999). "An Artist With the 'Whorl' At Her Feet". Washington Post.
  9. ^ Christian Viveros-Fauné (April 2000). "Whitney Biennial". New York Press.
  10. ^ O'Sullivan, Michael. "Tara Donovan's Power Puff 'Whorls'".
  11. ^ "Tara Donovan: Whorl". Washington City Paper. Retrieved 2019-01-18.
  12. ^ Smith, Roberta. "Art in Review: Tara Donovan".
  13. ^ Lilly Wei (2003). "Materialist". Art in America. pp. 101–103.
  14. ^ David Frankel (Summer 2003). "Tara Donovan, Ace Gallery". ArtForum.
  15. ^ Kim Levin (April 2003). "Material Girl". Village Voice.
  16. ^ Julie L. Belcove (October 2003). "Material Girl". W Magazine. pp. 222–223.
  17. ^ a b Diane Solway (September 2008). "Grand Illusion". W magazine. Retrieved 2008-11-18.
  18. ^ [1]
  19. ^ "press release" (PDF). The Pace Gallery. Archived from the original (PDF) on 2011-07-27. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  20. ^ "Past Exhibitions: Tara Donovan". Met Museum. Retrieved 2009-05-06.
  21. ^ "Hammer Projects: Tara Donovan". Retrieved 2010-02-09.
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