Installation shot, Roni Horn show at Whitney

This show ends on January 24th and I encourage you to definitely squeeze it into your schedule as it is amazing. Born in 1955 Horn has created work of  “concentrated visual power and intellectual vigor” in a variety of media–sculpture, drawing, photography, installation and books. Once you see the show you begin to realize how Horn cannot be placed into one particular category as a result of the diversity and range of her work. She investigates relationships, identity, memory, location, etc. Coming into her own in the 1970s, she moved past the bases of conceptualism and Minimalism and made something of her own. She most often paris seemingly identical subjects causing the viewer to look more carefully and methodically at each member of the pair. This exhibition is not organized thematically or chronologically but was laid out in order to create a unique dialogue between the pieces. Her work “offers ample rewards to those willing to take the time to become a part of it.” She asks us to slow down and take time to really look. She believes that “it is the viewer’s experience that creates the ultimate meaning of the work.”

This is Me, This is You, 1998-2000, detail

As one steps off the elevator on the fourth floor, one is greeted by 48 photographs of an adolescent (Horn’s niece) at various stages of her life. Though her expression, hair, clothes, etc. change, one constant is her stunning ice blue eyes. Her affect is also remarkable similar in many of the photos. The shots are all very different but all very much the same–the same child, the same personality. The same shots greet the viewer on the second floor in exactly the same order, but the image which appears identical is actually taken seconds apart. One’s memory is required to compare the works on the two floors.

Walking in to the first gallery one is immediately sucked into a work called Pink Tons from 2008. The huge solid pink cast glass work is wonderful. I couldn’t take my eyes off of it and wanted to experience it from every angle, even asking the security guard to move. The frosted sides hinder the view therefore one must look down from the top. The infinite depth of the reflective cast glass “functions as a portrait of the viewer.” It was like looking into an ice cube, clear with visible cracks. Each viewpoint provides a new angle with hidden treasures, a line here, a fissure there.

You Are the Weather, detail

In You Are the Weather in the next room 36 prints in both black and white and color greet the visitor. The photographs are of the same female subject over and over. with slight changes, alterations, and adjustments that are almost imperceiveable such as a slight parting of the lips, a squinting of the eyes.

Asphere X, 1998/200, solid forged stainless steel

Asphere, detail

Asphere X is a solid forged stainless steel object that rests in the middle of the floor of the gallery. It is not quite a perfect sphere but has rounded edges so again, the viewer knows that something is off and that he/she must investigate further and take more time with the work.

a.k.a., 2008-9, 30 photos

a.k.a.

The following gallery has self-portraits placed in pairs around the space. Most often one is a photo of Horn from childhood juxtaposed with a shot of her as an adult. It is clear from this work that this was an expression of her identity as a gay woman since many of the photos of her as a young girl include typical girl stereotypes, frilly dresses, pigtails, etc. The shots of her as a woman show her with short hair and often “butch” clothing.

Still Water, 1999, 15 lithographs on paper

Still Water (The River Thames, For Example) includes 15 lithographs on paper of various images of water. At the bottom is text which appears to be a stream of consciousness ranging from ideas about the Hitchcock movie “Psycho” to the question, “Is water sexy?” Her rambling thoughts mimic those that one might have when getting lost in looking out at a body of water for a period of time.

A large gallery on the fourth floor has huge works on paper on display. Powdered pigment is used by Horn to create patterns by cutting and re-placing  sections of the color creating new compositions. Each work has only one color–green, red, blue. The works can include what appear to be random numbers or word associations written in pencil (e.g. wool,drool, pool), part of the working process of Horn which is not hidden but on display for the viewer.

As IX, 1987-88, ink on paper

Another favorite piece from the show is a small work on paper called As IX from 1987-88. The simplicity of the medium (powdered pigments) adds to the intensity of the work. Three organic forms fill the bottom half of the paper almost like three heads without faces. The red is different in each area of each shape fire engine to magenta to areas almost black. Stepping back from the work there is a great deal of negative space but so much power and emotion in those three shapes that my eyes don’t want to leave them, they want to explore every area of texture. Returning to the theme Horn loves, each of the shapes in this work are similar but have different qualities as well. I am really blown away that she is so skillful in creating this duality and careful observation in a number of different media. To do it one is pretty cool but successfully in a number of media is really quite impressive. Overall I found it to be a tremendous exhibition and it left me wanting another floor of work to observe, digest, and ponder.