I’ve been a big fan of Tara Donovan for several years, and I am very excited to see her new show at the ICA in Boston this week. I bought the catalog for the show in anticipation, and it is excellent–authored by Nicholas Baume, Jen Mergel and Lawrence Weschler (LW is a particular personal favorite.) The images captured in the book knock me out.
I’ve posted Sebastian Smee’s review from the Boston Globe on Slow Painting if you want to read the entire piece. Here is an excerpt from his review that touches on one of my ongoing aesthetic themes—the role of beauty and how it is played out in contemporary visual language.
More excerpts from the book will be forthcoming.
Of course, it’s nice to encounter almost any proposition about beauty these days – even one as potentially ironic as Donovan’s. Until a few years ago, beauty’s repression in contemporary art was almost absolute. No one talked about it, hardly anyone peddled in it. If they did, they did it furtively, guiltily, always making out that other things – more “important” things – were on their mind.
Beauty has enjoyed a bit of a comeback in recent years. But there has been something willed and strained about the revival. Most recent discussions of beauty are about as appealing as a laborious explanation of a bad joke.
Donovan’s unabashedly beautiful work is a step or two forward from all this. It is not only beautiful, it is relaxed about being so, leaving her scope to admit all kinds of subtleties and ironies into her fantastically simple, if labor-intensive, forms.