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Looked very long love necklaces in this article right now, I actually finally discovered, Cartier like bracelets Favorites
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TOPIC: Looked very long love necklaces in this article right now, I actually finally discovered, Cartier like bracelets Favorites

Looked very long love necklaces in this article right now, I actually finally discovered, Cartier like bracelets Favorites 1 month ago #389254

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Tara Donovan's material magic
Pace Gallery in Palo Alto continues to present artists from its blue chip roster in thoughtful and compelling installations. The current exhibition,fake oyster perpetual rolex, on view until March 5, brings New York artist Tara Donovan, a MacArthur Foundation "genius" award winner, to the West Coast in order to show new work that blurs the line between sculpture and drawing.
Like many contemporary artists, Donovan eschews traditional art making materials,replica rolex oyster collection, preferring to work with an array of everyday manufactured objects. Plastic sheeting, pencils, tar paper, foam cups and Scotch tape have found their way into her studio, where she employs a large group of assistants who fabricate her designs. But don't think for a moment that these prosaic materials preclude the possibility of a stunning end product. In Donovan's hands, even a simple straight pin can become a thing of beauty.
Entering her Palo Alto exhibition, the visitor encounters two large wall pieces that seem to be studies of gradations of gray, perhaps executed in graphite. Look closer,fake oyster collection rolex, however, and one realizes that both pieces have been constructed of nickel plated steel pins thousands of them. The gradations are created by how densely the pins are placed. When asked why she chose such an unusual material, Donovan replied, "They are cheap and easy to get." She went on to explain that what inspired her in these pieces was "surface and depth of surface" that could be achieved with the pins. She referred to these works, part of a series, as "straight fades,oyster rolex imitation," and noted that the graphic formations, whether horizontal or circular, were part of an investigation of gray scale. She has worked with the pins for eight years, and the two pieces in this exhibition simply titled "Drawings (Pins)," represent the end of the series. (Selections from this series are also currently on display in the Cartier boutique at the Stanford Shopping Center.)
"I feel that I explored the variations of what I could create and have now exhausted the possibilities of the material," she said.
But there are always new materials to explore, as visitors see when they enter the gallery's second room. "Composition (Cards)" is the artist's latest series and consists of styrene cards that have been arranged in patterns and glued together to create a variety of abstract designs. Framed and hung on the wall, the gray and white cards form chevrons, knots in a tree, the lines of an oscilloscope, waves, zigzags or anything else the viewer ascribes to them.
Donovan spent hours experimenting with the plastic cards until she decided upon a system that could be used to create the designs. "I have learned so much in working with the cards," she said.
The results are quite transfixing, as the patterns seem to change depending on where the viewer is standing. She encouraged visitors to move around the pieces to make a close examination, in the process noticing the dynamic between the variegated lines and spacing of the cards. In "Composition (Cards) 64852," the staccato dark lines, set against a solid gray background, bring to mind a heart monitoring machine or perhaps a polygraph test. According to Pace Gallery Director Liz Sullivan, the artist did not count how many cards were used in this series but some of the card compositions were completed in days, while others took weeks.
Donovan credits her art world success to the idea of absorption. In a recent New York Times interview she explained, "So much about the art making process is about paying attention. It's about looking and noticing things."
It would be hard not to notice the final piece in the show, a large scale sculpture, "Untitled" from 2016. Comprised of tens of thousands of clear acrylic rods that have been cut in varying lengths, the piece resembles a huge crystal think back to looking into a microscope in chemistry class and seems to burst with light. At 8 feet in height and sited directly on the floor, the piece really inhabits the viewer's space and demands to be seen in the round. Donovan said that she often works in small scale in her studio, then "imagines them big."
In a recent interview, she described her process as "very personal and intuitive in the beginning and then very calculated and collaborative in the end."
"Untitled" looks like it was made for the space at Pace Gallery, and perhaps it was. Donovan's large scale sculptures are often created to be "site responsive" because she feels her installations respond in an intimate way to their architectural surroundings. Usually her own assistants install her sculptures and, when purchased by a museum, the artist provides specific instructions regarding cleaning and storage.
Donovan is somewhat modest about her work and success, stating that "anyone can construct my work with detailed instructions." But not everyone would look at a simple straight pin and see the potential for art.
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