• Tara Donovan, Untitled (Styrofoam Cups), 2003, Styrofoam cups and hot glue, dimensions variable.

    Tara Donovan

    ICA - Institute of Contemporary Art, Boston
    25 Harbor Shore Drive
    October 10, 2008–January 4, 2009

    Contemporary Arts Center, Cincinnati
    44 E. Sixth Street
    February 7–May 11, 2009

    Des Moines Art Center
    4700 Grand Avenue
    June 19–September 13, 2009

    Museum of Contemporary Art San Diego | Downtown
    1100 and 1001 Kettner Boulevard
    October 10, 2009–February 28, 2010

    Curated by Nicholas Baume and Jen Mergel

    Tara Donovan makes I-can-do-that sculptures by taking a household item—a Styrofoam cup, straight pin, drinking straw, or toothpick—and positioning it among thousands of its ilk. You could do it, but you wouldn't. You wouldn't log hundreds of hours meticulously assembling, arranging, affixing, or otherwise conjoining countless identical consumer goods. The results, when seen from afar, offer gestalt experiences that, paradoxically, often conjure natural associations, with, for example, waves, clouds, and mountains. Donovan's first major museum show, accompanied by a comprehensive monograph documenting nearly all her projects to date, presents a dozen sculptures and five major installations from the past twelve years.

  • Carlos Amorales, Selected Ghosts (composition) 04, 2008, collage on paper, 45 1/4 x 35 7/16".

    Carlos Amorales

    Contemporary Arts Center, Cincinnati
    44 E. Sixth Street
    September 27, 2008–March 8, 2009

    Curated by Raphaela Platow

    This marks Mexican artist Carlos Amorales's second outing in a US museum, and promises further explorations of his penchant for theatricality. In addition to the presentation of twenty-six paintings, videos, and drawings, the artist, in collaboration with the Cincinnati Ballet, has planned a series of performances using the exhibition as its backdrop, during which dancers will interact with spiderwebs made from pliant metal and plastic. These forms originate in Amorales's Liquid Achive, 1999–, a library of digital images that feeds his wide-ranging practice, including many works in the show. The exhibition's substantial catalogue, with essays by Néstor García Canclini, José Luis Falconi, Jens Hoffmann, and Raphaela Platow and a conversation between Joan Jonas and Amorales, will be an important contribution to the scant English literature on the artist.