![]() Suggs’ “Double Vision” steals the show with her works on paper, abaca, made from banana-leaf fibers, or Yupo, a tear-proof synthetic. The most impressive work, however, resides on the second floor. The clean lines, standardized form and opaque paint allow Roth room for experimentation, especially as indicated by the selection of titles. Visual references from 20th-century art abound: Piet Mondrian in “No Fear,” Ellsworth Kelly in “White Lightning,” Bridget Riley in “For You, My Love,” and Stuart Davis in “Champion,” all from 2015, with a heavy dose of Donald Judd’s “Specific Objects” undergirding Roth’s entire project, which blurs the boundary between painting and sculpture. In the adjoining two rooms on the ground floor, Roth’s “Speed Bump” features 10 new box paintings alongside two thinly elongated paintings that he calls blades. Richard Roth’s “Still Hell-Bent” (2014).It’s classic Donovan: an exponentially large volume of mundane objects arranged in an organic, aesthetic shape. The installation, which stretches across a 22-foot wall, of deconstructed and reconstructed metal Slinky rings seems to float in midair as a long tubular shape that twists and turns back onto itself. Likewise, they gain new meaning as supplemental investigations for a larger body of work, including Donovan’s three-dimensional installation “Untitled” (2015), which hangs alongside the prints. In Richmond, the prints have been given space to breathe. The striking contrast seemed to relegate the prints, made by pressing a Slinky matrix into a hydraulic press, to production work while elevating the “Drawing (Pins)” to serious art. Last summer they were cramped in a windowless upstairs room at Pace Gallery in New York, hung almost as a conceptual aside to her “Drawing (Pins)” that lined the main floor and sparkled in the summer sun. I’d seen Donovan’s “Slinkys” relief prints before. ![]() ![]() In a fast-paced world where the only guarantee is instability, market volatility and constant change, alluringly subtle works such as these stop the passerby - not just for a pause, but to hold the viewer’s attention for a moment or two before plunging people back into their frenetic realities of busyness. Perhaps this sensibility begins to get at the appeal behind the art. In many ways, Donovan, Roth and Suggs are connected by their analog sensibility, as each emphasizes the handmade, repetitive processes, standardized forms, history and traditional studio practice. ![]()
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