DOCSLIB.ORG

Roni Horn October 2, 2016 – January 1, 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Roni Horn October 2, 2016 – January 1, 2017 Media Release Roni Horn October 2, 2016 – January 1, 2017 The exhibition by American artist Roni Horn (*1955 in New York) features outstanding groups of works and series she has created over the last twenty years. The photographic installations, works on paper, and sculptures made of cast glass displayed in the six rooms devoted to the show can be experienced as a coherent installation. The exhibition “Roni Horn” has been developed in close cooperation with the artist for the space at the Fondation Beyeler. Several new works are being presented for the first time. Roni Horn’s art focuses on the idea of identity and mutability. In her works, Horn succeeds in subtly exploring fixed attributions and in emphasizing ephemerality and diversity. They show how the essence of things can differ from their visual appearance. It is therefore no coincidence that she uses materials like glass or subjects like water or weather, which are multifaceted and have a form and natural state that are subject to change. Her ideas take on visible forms centered on the experiences they enable. Her playful approach to language and literature endows the images she creates with an even broader range of meaning. Roni Horn has travelled regularly to Iceland since 1975. The uniquely rugged landscape, the extremely changeable weather conditions, and the country’s remoteness are her main sources of inspiration: “Big enough to get lost on. Small enough to find myself.” The curator of the exhibition is Theodora Vischer, Senior Curator at the Fondation Beyeler. The “Roni Horn” exhibition is being supported by: Beyeler-Stiftung Hansjörg Wyss, Wyss-Foundation Helen and Chuck Schwab Press images: are available for download at http://pressimages.fondationbeyeler.ch Further information: Elena DelCarlo, M.A. Head of Communications Tel. + 41 (0)61 645 97 21, [email protected], www.fondationbeyeler.ch Fondation Beyeler, Beyeler Museum AG, Baselstrasse 77, CH-4125 Riehen, Switzerland Fondation Beyeler opening hours: 10 am - 6 pm daily, Wednesdays until 8 pm Media Release Roni Horn October 2, 2016 – January 1, 2017 The exhibition by American artist Roni Horn (*1955 in New York) features outstanding groups of works and series she has created over the last twenty years. The photographic installations, works on paper, and sculptures made of cast glass displayed in the six rooms devoted to the show can be experienced as a coherent installation. The exhibition “Roni Horn” has been developed in close cooperation with the artist for the space at the Fondation Beyeler. Around half the works on show are new ones that are being exhibited for the first time. Roni Horn’s art focuses on the idea of identity and mutability, demonstrating that the essence of things can differ from their visual appearance. In her works, Horn succeeds in subtly exploring fixed attributions, and in conveying ephemerality and diversity. It is therefore no coincidence that she uses materials like glass and motifs like water and the weather, all of which are multifaceted and have a form and natural state subject to constant change. Horn gives visible form to such ideas in her work. Her playful approach to language and literature endows the images she creates with an even broader range of meaning. Since the early 1980s, drawing, particularly with pigment, is a medium repeatedly used by Roni Horn. Ten of the most significant monumental pigment drawings she has created during the past decade have been brought together for the exhibition from collections in the United States, Mexico, Norway and Switzerland. For these large-format works on paper (each measuring around 2 x 3 meters), Horn created several similar abstract drawings which she cut up cleanly with a knife, and then assembled into a larger picture. The extremely delicate line structure of these works develops an extraordinary pull on viewers, seeming to draw them into the work. That impression is reinforced by the works’ apparently porous surface, the luminous mineral pigments, and the notes delicately added in pencil afterwards. The very recent works on paper from the series entitled Th Rose Prblm, 2015–16, which demonstrate Roni Horn’s creative engagement with language and literature, are drawings of a different kind. The process of cutting and assembly is the same, but the initial pictures here are water colors of phrases in which the word “rose” appears. For Th Rose Prblm, Horn breaks up these phrases and rearranges the parts into a total of 48 colored, often slightly bizarre textual meanings. Filling an entire room, a veritable rose garden awaits visitors. Two extensive photographic installations, a.k.a., 2008–09 and the new work The Selected Gifts, (1974–2015), 2015–16, show Roni Horn’s engagement with the genre of portrait. In the first case, she alludes to the multiple aspects of a person’s identity through a non-chronological juxtaposition of portraits of herself from different periods in her life. In the second, a possible portrait of the artist is formed through photographically documented objects given to her by friends and acquaintances over the last 40 years. The series Still Water (The River Thames, for Example), which was completed in 1999 and which has been loaned by the Kunsthaus Zürich, is also a portrait – albeit of a river. By means of 15 photographs of the Thames’s surface, the color and structure of which are never the same, as well as short passages of text, Roni Horn addresses the stories, moods and memories of the River Thames. “I think of my images of the Thames as a mirror. All the associative images that coalesce around this work, whether it is the similarity of the water with the desert or with aspic, the endless range of imagery is the result of photographing something that is a master chameleon. Or the ultimate mime. The ultimate mime is the thing that keeps its distinction from everything else. When you think about that fact – of imitation or reflection and the possibility of losing your identity in that connection – you realize how water never loses its identity, it is always discretely itself.” [Roni Horn, 2007.] The mutability of a material as it is made perceptible in Still Water (The River Thames, for Example) using the motif of water is also a theme of Horn’s sculptural work. Her newly created glass sculptures Water Double, v.1–3, 2013–16 convey the impression that the cylindrical objects are filled with water. Their surface can be transparent down to the bottom but can at the same time also show your reflection. However, it is not water but solely the characteristics of the material – massive glass that has been poured and cooled – that create this illusion. The impression of Horn’s works in glass varies according to prevailing light and meteorological conditions, seeming in some cases even to be illuminated from within. Looking at them thus becomes a constantly changing and spectacular experience. The exhibition is being curated by Theodora Vischer, Senior Curator at the Fondation Beyeler. Roni Horn was born in 1955 in New York City and grew up in Rockland County in the U.S. state of New York. Today Roni Horn lives and works in New York and in Reykjavik, Iceland. She studied at the Rhode Island School of Design from 1972 to 1975, graduating with a Bachelor of Fine Arts. At the age of twenty, she first travelled to Iceland, a country that proved to be of great importance for her subsequent artistic work. From 1976 to 1978 she studied for a Master of Fine Arts at Yale University, specializing in sculpture. After the completion of her studies, an Alice Kimball English Traveling Fellowship, the most generously endowed fellowship awarded by Yale University, enabled her to tour Iceland by motorcycle for a period of several months. She regularly returned there in the decades that followed. The country’s remoteness, the extremely volatile weather conditions, and the uniquely rugged landscape, which is constantly changing due to geothermal and volcanic activity, have remained key sources of inspiration for her right up until today. Horn has described her relationship to Iceland in the following way: “I have used this place as an open-air studio of unlimited scale and newness. In retrospect I see that I have chosen Iceland the way another artist might choose marble as the substance of one’s work. Iceland taught me to taste experience. Because that’s possible here, because of the intensely physical nature of experience on this island.” [Roni Horn, 2006.] The series of publications entitled To Place of which Horn produced the first in 1990 is her most explicit response to Iceland. The different volumes include drawings and photographs of geysers, glacial rivers, lava and hot springs. The ten volumes that have appeared so far will also be presented in the exhibition. For many years now, Roni Horn’s work has been shown in solo exhibitions held in leading modern and contemporary art museums in the United States and Europe: it was displayed in 1995 at the Kunsthalle Basel, in 1998 at the Museum für Gegenwartskunst, Basel, in 2000 at the Whitney Museum of American Art, New York, in 2002 at the Dia Center for the Arts, New York, and in 2003 at the Centre Pompidou, Paris. Further major exhibitions were held in 2009 at Tate Modern, London, in 2010 at the Kunsthaus Bregenz, in 2011 at the Hamburger Kunsthalle, in 2012 at the Sammlung Goetz, Munich, in 2013 at the Schirn Kunsthalle, Frankfurt am Main, in 2014 at the Fundació Joan Miró, Barcelona, in 2015 at the Fondation Vincent van Gogh, Arles, and in early 2016 at the De Pont Museum, Tilburg.
Load more

Recommended publications
  • Curriculum Vitae 2017
    Thierry de Duve 650 W 42nd Street, # 2306 New York, NY 10036 USA Mobile: 213-595-6869 [email protected] U.S. citizen Married to artist Lisa Blas Curriculum Vitae Education - 1994: Habilitation à diriger des recherches (sur travaux), Université de Rennes 2. - 1981: PhD in “Sociologie et sémiologie des arts et littératures”, Ecole des Hautes Etudes en Sciences Sociales, Paris. Dissertation directed by Prof. Louis Marin: Une sorte de Nominalisme pictural, Essai sur un passage et une transition de Marcel Duchamp, peintre. (Jury: Profs. Jean- François Lyotard, Louis Marin, Christian Metz). - 1972: Masters degree in Psychology, University of Louvain, Belgium. Thesis subject: Prolégomènes à une sémiotique de l’espace pictural. - 1972: Bachelor degree in Philosophy, University of Louvain. - 1962-1965: Industrial Design studies at the Institut Supérieur St Luc in Liège, Belgium (1962- 1963), and at the Hochschule für Gestaltung in Ulm, W. Germany (1963-1965). Teaching activities: tenured positions - 2015-: Evelyn Kranes Kossak Professor and Distinguished Lecturer, Department of Art and Art History, Hunter College, CUNY, New York. - 2003-2012: Full Professor, Université Lille 3, Département Arts plastiques. Emeritus Sept. 2012. - 1991-1993: Directeur des études (Director of Studies), Association de préfiguration de l’Ecole des Beaux-Arts de la Ville de Paris. In charge of the pedagogical structure and program of the future school. For political and economic reasons, the project was terminated on 1st January 1994. - 1982-91: Associate Professor at the University of Ottawa, Departement of Visual Arts. Tenure obtained in January 1984. - 1972-81: Professor at the Institut Supérieur St Luc, Brussels, Department of Visual Arts.
    [Show full text]
  • A FUND for the FUTURE Francis Alÿs Stephan Balkenhol Matthew
    ARTISTS FOR ARTANGEL Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno Ryan Gander Robert Gober Nan Goldin Douglas Gordon Antony Gormley Richard Hamilton Susan Hiller Roger Hiorns Andy Holden Roni Horn Cristina Iglesias Ilya and Emilia Kabakov Mike Kelley + Laurie Anderson / Kim Gordon / Cameron Jamie / Cary Loren / Paul McCarthy / John Miller / Tony Oursler / Raymond Pettibon / Jim Shaw / Marnie Weber Michael Landy Charles LeDray Christian Marclay Steve McQueen Juan Muñoz Paul Pfeiffer Susan Philipsz Daniel Silver A FUND FOR THE FUTURE Taryn Simon 7-28 JUNE 2018 Wolfgang Tillmans Richard Wentworth Rachel Whiteread Juan Muñoz, Untitled, ca. 2000 (detail) Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno ADVISORY GROUP Ryan Gander Hannah Barry Robert Gober Erica Bolton Nan Goldin Ivor Braka Douglas Gordon Stephanie Camu Antony Gormley Angela Choon Richard Hamilton Sadie Coles Susan Hiller Thomas Dane Roger Hiorns Marie Donnelly Andy Holden Ayelet Elstein Roni Horn Gérard Faggionato LIVE AUCTION 28 JUNE 2018 Cristina Iglesias Stephen Friedman CONDUCTED BY ALEX BRANCZIK OF SOTHEBY’S Ilya and Emilia Kabakov Marianne Holtermann AT BANQUETING HOUSE, WHITEHALL, LONDON Mike Kelley + Rebecca King Lassman Laurie Anderson / Kim Gordon / Prue O'Day Cameron Jamie / Cary Loren / Victoria Siddall ONLINE
    [Show full text]
  • Press Release
    Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Whitney Museum of American Art New York, NY 10021 Stephen Soba, Leily Soleimani whitney.org/press 212-570-3633 Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] A FEW FRAMES: PHOTOGRAPHY AND THE CONTACT SHEET OPENS AT THE WHITNEY September 25, 2009–January 3, 2010 David Wojnarowicz (1954–92), Untitled, 1988. Synthetic polymer on two chromogenic prints, 11 x 13 1/4 in. (27.9 x 33.7 cm). Whitney Museum of American Art, New York; purchase with funds from the Photography Committee 95.88. Courtesy of The Estate of David Wojnarowicz and P.P.O.W. Gallery, New York, NY New York, September 24, 2009 — In this selection of works drawn principally from the Whitney’s permanent collection, the repetitive image of the proof sheet is the leitmotif in a variety of works spanning the range of the museum’s photography collection, including the works of Paul McCarthy, Robert Frank, Ed Ruscha, and Andy Warhol. The exhibition is co-curated by Elisabeth Sussman, Whitney Curator and Sondra Gilman Curator of Photography, and Tina Kukielski, Senior Curatorial Assistant. A Few Frames opens on September 25, 2009 in the Sondra Gilman Gallery and runs through January 3, 2010. Decisions about which photograph to exhibit or print are frequently the end result of an editing process in which the artist views all of the exposures he or she has made on a contact sheet—a photographic proof showing strips or series of film negatives— and then selects individual frames to print or enlarge.
    [Show full text]
  • Dan Graham to Be Presented at Whitney, June 25-October 11, 2009
    Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Whitney Museum of American Art New York, NY 10021 Stephen Soba, Leily Soleimani whitney.org/press 212-570-3633 Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] RETROSPECTIVE OF PIONEERING ARTIST DAN GRAHAM TO BE PRESENTED AT WHITNEY, JUNE 25-OCTOBER 11, 2009 Dan Graham performing Performer/Audience/Mirror at P.S.1 Institute for Contemporary Art, Long Island City, NY, 1977. Photo courtesy of the artist. NEW YORK, March 26, 2009 -- Dan Graham, one of the pioneering figures of contemporary art, is the subject of a landmark retrospective opening at the Whitney Museum of American Art on June 25. Dan Graham: Beyond is the first-ever comprehensive museum survey of Graham’s career to be done in the United States. The show is co-curated by Chrissie Iles, the Whitney’s Anne and Joel Ehrenkranz Curator, and Bennett Simpson, MOCA associate curator. Organized by The Museum of Contemporary Art, Los Angeles, in collaboration with the Whitney, it examines Graham’s extensive body of work in photographs, film and video, architectural models, indoor and outdoor pavilions, conceptual projects for magazine pages, drawings, prints, and writings. Dan Graham: Beyond is the latest in a trio of collaborations between the Whitney and MOCA, following Gordon Matta-Clark: You Are the Measure and Lawrence Weiner: As Far As the Eye Can See, celebrating the work of three major figures in American art, each of whom emerged in the 1960s. Following its presentation at the Whitney from June 25 to October 11, 2009, the Graham exhibition travels to the Walker Art Center, Minneapolis, from October 31, 2009 to January 31, 2010.
    [Show full text]
  • A Vocabulary of Water: How Water in Contemporary Art Materialises the Conditions of Contemporaneity
    A VOCABULARY OF WATER HOW WATER IN CONTEMPORARY ART MATERIALISES THE CONDITIONS OF CONTEMPORANEITY Tessa Elisabeth Fluence Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy School of Culture and Communication The University of Melbourne March 2015 ABSTRACT This thesis provides an in-depth analysis of how water in three contemporary artworks provides an affective vocabulary that gives material expression to the forces and dynamics that shape our current era. It argues water is not simply a medium or metaphor; in the artworks, it articulates and is symptomatic of the conditions of contemporaneity. Focusing on the dynamics of time, placemaking and identity, it argues water in the artworks makes present our era’s fluid, multiple, precarious, contingent, complex, disorientating, immersive and overwhelming nature. This dissertation uses Terry Smith’s theory of contemporaneity as a lens through which to identify the dynamics and forces of this era. By focusing on water in three artworks, it amplifies and extends his work to consider how the particular vocabulary of water materialises these forces. This is demonstrated through three case studies of exemplary artworks in different mediums, made between 2000 and 2004, by Zhu Ming, Roni Horn and Bill Viola. Drawing on Mieke Bal’s approach of conceptual travelling, I do a close reading of each artwork, orchestrating a conversation between the work, the concept of water and the theory of contemporaneity. Focusing on the role of water in each work, I argue water provides a potent comment on the conditions of contemporaneity, offering a new ontology that is appropriate to, and symptomatic of, today’s complex conditions.
    [Show full text]
  • Galleria Raffaella Cortese Roni Horn
    galleria raffaella cortese roni horn MONOGRAPHS & EXHIBITION CATALOGUES 2019 White, Michelle, Roni Horn. When I Breathe, I Draw, Houston: The Menil Collection, 2019 2018 Carroll, Henry, Photographers on Photography. How the Masters See, Think & Shoot, London: Laurence King Publishing Ltd., 2018, pp. 60, 89, ill. Fer, Briony, Roni Horn. Dog’s Chorus, Göttingen: Steidl Verlag, 2018 Lauson, Cliff, Schuld, Dawna + [et al.], Space Shifters, London: Hayward Gallery Publishing, 2018, pp. 82- 89, ill. in colour (exh. cat.) Molesworth, Helen, One Day at a Time. Manny Farber and Termite Art, Los Angeles: The Museum of Modern Art Los Angeles, Munich: Prestel Verlag, 2018, pp. 114-117, ill. in colour (exh. cat.) Poivert, Michel, La Photographie Contemporaine, Paris: Flammarion, 2018, p. 57, ill. in colour (detail) Larrat-Smith, Philip, That Obscure Object of Desire, São Paulo/BR: Galeria Fortes D’Aloia & Gabriel, 2018, ill. (catalogue) Aloi, Giovanni, Speculative Taxidermy: Natural History, Animal Surfaces and Art in the Antrhopocene, New York NY: Columbia University Press, 2018, ill. (catalogue) Chao, Marina, Williams, Stephanie Sparling + [et. al.], Multiply, Identify, Her, New York: International Center of Photography, 2018. 2017 Horn, Roni, 82 Postcards, Zurich: Hauser & Wirth Publishers, 2017 Horn Roni, Roni Horn. Th Rose Prblm, Göttingen: Steidl Verlag, 2017 Wei Rales, Emily, Nemerov, Ali, Roni Horn, Potomac MD: Glenstone Museum and Del Monico Books/ Prestel, 2017 (catalogue) 2016 Allred, Ry (ed.), Collected, Sand Francisco CA: Pier 24 Photography, 2016, pp. 96-97, ill. in colour (catalogue) Hoffmann, Jens (ed.), Animality. A Fairy Story, New York/Hoek van Holland: Marian Goodman Gallery/ Unicum, 2016, pp. 78-80, ill.
    [Show full text]
  • RIT Scholar Works Scapes
    Rochester Institute of Technology RIT Scholar Works Theses 2-1-2011 Scapes Masa Bajc Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Bajc, Masa, "Scapes" (2011). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. SCAPES By MAŠA BAJC THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Imaging Arts Rochester Institute of Technology, Rochester, NY February, 2011 Patricia Ambrogi, Chair Date Jessica Lieberman, Committee Advisor Date Alex Miokovic, Committee Advisor Date ACKNOWLEDGMENTS I would not be writing this had it not been for the support of my amazing family. Thank you for sharing this great adventure and all the special moments we spent on video chat. A big thank you from the bottom of my heart goes to my committee members, who were ever patient and most of all believed I could pull it off when I myself had doubts. Patti, Jessica and Alex – you are simply the best! Last but not least, a special thank you to my dear friends and colleagues: Ratna, Rosa, Fabi, Providencia and Chas, without you it would be hard to imagine putting up the show and having such a great opening; Alysia, Alex and Chris, you made the installation happen (and Chris rocked the dance floor); Pavel, you kept me sane from the start; Daniel, our conversations helped ideas move as you sometimes understood what I was doing better than I did, ; and Grant, you selflessly took time to proof read and gave me that last push to finish.
    [Show full text]
  • Roni Horn – Water Teller Peder Lund Is Proud to Present the Exhibition
    Roni Horn – Water Teller Peder Lund is proud to present the exhibition “Water Teller” by the American artist Roni Horn, comprising two glass sculptures and a new photographic series. The exhibition opens 22 November 2014 and will be on view through 24 January 2015. For more than 30 years, Roni Horn (1955- ) has worked with a wide range of media, ranging from photography, draw- ing, sculptural installations and performance, to artist’s books and text. Horn’s work concerns matters such as the mutable nature of identity and that of the natural world, and the relationship between subject and object in perception of art and nature. Across the multidisciplinary formal approaches she has employed throughout her oeuvre, Horn has remained focused and her subject matters well articulated. Horn graduated with an MFA from Yale University in 1978, and had her first solo exhibition at Kunstraum in Munich in 1980. Shortly after, Horn travelled to Iceland where she traversed the country on a motorbike. Iceland became an important source of inspiration for Horn, and her continuous travels there have had a significant influence on her art. Between 1994 and 1996, Horn produced the photographic series “You Are The Weather,” which is made up of 64 photographs of a young woman’s face as she is bathing in various Icelandic hot springs in different weather conditions. Horn has also published a number of artist’s books in which she reflects on her relationship to Iceland. The exhibition “Water Teller” presents Horn’s multifaceted practice by touching on themes including the artist’s abid- ing interest in water, and her recurrent formal device of doubling and pairing.
    [Show full text]
  • Stony Brook University
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Between Motion and Stasis A Thesis Presented by Hronn Axelsdottir to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Studio Art Stony Brook University August 2011 Stony Brook University The Graduate School Hronn Axelsdottir We, the thesis committee for the above candidate for the Master of Fine Arts degree, hereby recommend acceptance of this thesis. Stephanie Dinkins – Thesis Advisor Associate Professor Studio Art Andrew Uroskie – Second Reader Assistant Professor Art History and Criticism Nobuho Nagasawa– Third Reader Professor Studio Art This thesis is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Thesis Between Motion and Stasis by Hronn Axelsdottir Master of Fine Arts in Studio Art Stony Brook University 2011 This thesis is about my progress from photography to video installation. There is an exploration of my use of material, such as light, porcelain, photography and video and the importance of the screen with the pieces. While discussing the use of the screen, attention is paid to the process of using photography and how it evolved from photography to video. There is also a discussion of my progress from thinking two dimensionally within the space, one point perspective of the image, going towards the expansion of the work into the space. Although the work has evolved from photography to video there is a continued interaction between the still and the moving image in my work.
    [Show full text]
  • READING AS SCULPTURE: RONI HORN and EMILY DICKINSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the De
    READING AS SCULPTURE: RONI HORN AND EMILY DICKINSON DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eva Heisler, M.A. The Ohio State University 2005 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor J. Ronald Green Professor Barbara Groseclose Adviser Graduate Program in History of Art ABSTRACT The United States sculptor Roni Horn has produced four bodies of work that present lines from Emily Dickinson as aluminum columns and cubes: How Dickinson Stayed Home (1992-3); When Dickinson Shut Her Eyes (1993); Keys and Cues (1994); and Untitled (Gun) (1994). This dissertation examines Horn’s Dickinson-objects within the context of twentieth century sculpture as well as within the context of debates surrounding the material and conceptual circumference of the Dickinson poem—in particular the new privileging of the visual in the Dickinson manuscript—and the emergence of text-based art that positions the viewer as a reader and raises questions about the dislocation of the visual in contemporary art. It is argued that Horn’s Dickinson-objects harness the syntactical demands of the Dickinson lyric in the service of the artist’s preoccupation with temporal experience and the demands of sculpture. Each of the dissertation’s four chapters is centered around one work in Horn’s Dickinson series and discusses the work in terms of both Dickinson studies and the history of sculpture. Chapter One considers the installation How Dickinson Stayed Home and examines circumference as both theme and artistic strategy in Dickinson’s work followed by a discussion of the dialectical relationship between center and circumference enacted by the work of Robert ii Smithson and Richard Serra.
    [Show full text]
  • Photobooks After Frank
    From the Library: Photobooks after Frank August 8, 2015 – February 7, 2016 National Gallery of Art Robert Frank, detail from The Americans (1) From the Library: Photobooks after Frank The term photobook was coined to describe a specific book format that uses photographs as a substantial part of the overall content. In recent years, interest in this method of presentation — as distinct from other photographic practices — has increased. Of course, books and photography have been linked almost since the moment of photography’s invention. There have been many important and influential books of photographs, but Robert Frank’s masterpiece The Americans, which appeared in the late 1950s, was partic- ularly significant. The fluid, instantaneous aesthetic present in this work paved the way for social landscape photography and its practitioners, such as Garry Winogrand and Danny Lyon. Eventually other photographers like William Eggleston took this style further and began working in color, leading to color photography’s transcendence of the com- mercial and advertising worlds to find acceptance in the fine-art world. Frank’s stream-of- consciousness approach, a diary of subjective truth, helped both to expand the possibili- ties of photography beyond objective documentation — which had come to dominate the field in the 1930s and early 1940s — and also to further the acceptance of photography as an appropriate art form for personal expression. The serial presention of photogaphs in a codex, while certainly not new, was so skillfully executed in The Americans that the volume became a handbook for following generations and elevated the monograph to the same level as the magazine photo-essay that had grown in popularity since the end of World War II.
    [Show full text]
  • Everything Was Sleeping As If the Universe Were a Mistake 20/06/2014 – 28/09/2014
    Press Kit EVERYTHING WAS SLEEPING AS IF THE UNIVERSE WERE A MISTAKE 20/06/2014 – 28/09/2014 Index 1. General information 3 2. Press release 4 3. Jury statement 8 4. Biography of Roni Horn 9 5. Room plan 11 6. List of works 12 7. Practical information 18 2 1. General information Roni Horn. Everything was sleeping as if the universe were a mistake 20 June – 28 September 2014 Press conference: 18 June at 12.00 Opening: 19 June at 19.30 Exhibition organised by Fundació Joan Miró ”la Caixa” Foundation Catalogue Fundació Joan Miró and ”la Caixa” Foundation Main text: Julie Ault in conversation with Roni Horn Editions in Catalan, Spanish and English 3 2. Press release The Fundació Joan Miró and Obra Social ”la Caixa” present the exhibition Roni Horn. Everything was sleeping as if the universe were a mistake. In her first monographic exhibition in Barcelona, Roni Horn uses her work to question the reality that surrounds her, her own identity, and her relationship with the environment. The works in the show include her latest sculptural installation, which has only been shown once before at Hauser & Wirth gallery in New York. Roni Horn is the winner of the fourth edition of the Joan Miró Prize, a biennial award bestowed by the Fundació Joan Miró and Obra Social ”la Caixa”, which includes a cash prize of 70,000 euros and an invitation to exhibit her work in 2014. The exhibition Roni Horn. Everything was sleeping as though the universe were a mistake is organised by the Fundació Joan Miró and Obra Social ”la Caixa”.
    [Show full text]