Word: horn
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With footnotes of Horn’s meditations on the images below each photograph, there is a repeated application of text in an unexpected medium. The footnotes call attention to three separate, but linked relationships: Horn and the photograph, Horn and the viewer, and the image and viewer...
...relationship with the work, noticing the subtle changes in light and color depending on his position. But unlike Judd’s repeated metal rectangles, all of these bars are separate works, each a different height with a different Emily Dickinson quote embedded in the aluminum. By inserting language, Horn injects her own personality and thus her own hand, breaking the fabricator assembly, non-artistic touch, and industrial mold of Minimalism...
...Horn has stripped away text, but still alludes to this discussion of artistic relationships, memory, and change through image and juxtaposition alone in her most recent piece, “a.k.a.” The work consists of pairs of framed photographs of the artist at various stages of her life. Like the photographs of the sea, each image is incredibly different despite being joined by the common denominator of subject matter—in this case, a frontal headshot of Horn...
Within each pair, the photographs contradict and complement one another. Horn, as a late adolescent blanketed with curly brown hair, is juxtaposed with Horn in her middle ages rendered androgynous with her grey crew cut. The composition of each of the photographs—Horn’s head tilted to opposite sides—produces a reflective quality; one image could be flipped across the vertical axis to cover the other. This mirror-like possibility literalizes the actual mirroring of subject matter. The similarity and differences within the pair are simultaneously stressed...
These pairs are repeated to form a set, leaving the viewer to decide how to engage them—as a whole or a succession of couplets—and thus reemphasizing the uniqueness of perception. By casting herself in these pairs for the viewer’s scrutiny, Horn establishes a double-fold relationship between her and the viewer, as well as the object and the viewer. Horn succeeds in rendering photography, which is automatically singular and permanent, multifaceted and ephemeral...