While what Tara Donovan has installed at Pace’s enormous West 25th Street headquarters can’t very easily be described as a capriccio, it certainly deals in the fantastic. Active since the early 2000s, Donovan is known for large-scale sculptures and installations that have put her in conversation with Light and Space artists like Robert Irwin and James Turrell. Often, she has exploited the translucency of materials like drinking cups, plastic straws, and Scotch tape to transformative effect, alternately evoking earth-bound formations like stalagmites or fungal blooms and diaphanous phenomena like fog. “A single drinking straw has a very clear purpose that’s universal, but a million straws—together they become something else entirely,” she explained to The New York Times in 2018, before her retrospective exhibition, “Tara Donovan: Fieldwork,” opened at the Museum of Contemporary Art Denver. “They take on ethereal and atmospheric qualities that aren’t present when you’re just observing a single straw.”
Daniel Arsham, Cave of the Sublime, Iceland, 2020. Acrylic on canvas. Framed: 227.5 x 318.1 x 13 cm | 89 9/16 x 125 1/4 x 5 1/8 in. Inspired by the concept, he created a capriccio with his own work, painting versions of the sculptures appearing in “Time Dilation” into those landscapes. “So you could have a scenario in the exhibition where you’re looking at a sculpture, and then there’s a painting of it where it’s a hundred feet tall,” he says. (The canvases themselves range in size from about seven by six feet to nine by seven and a half; one, comprising four different panels, measures 10.5 by 15 feet.) They represent impossible conversations that make something weird and wonderful out of our material reality.
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