Word: whites
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Working out of the tradition of Minimalism, Horn’s work has traces of the movement—seriality, utilitarian materials, and austere simplicity and beauty. Perhaps some of the most Minimalist pieces in the exhibit, collectively called “White Dickinson,” six bars of cast aluminum and white plastic stand propped in a room evenly spaced from each other. Despite the solidity of the bars, this propping invokes fragility and impermanence, producing an enigma...
Like a piece by influential Minimalist Donald Judd, “White Dickinson” forces the viewer to recognize his 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...
Omara Portuondo: My parents taught me to feel and to be the same as everyone, even if they lived in a period where black and white people could not get married. They didn’t understand the differences between people, and they educated us with these values. Ever since I started music, when I was only a little girl, all the people who I’ve worked with have been from mixed races, cultures, and influences. The Buena Vista Social Club is the best example for that, as well as my own musicians...
...cover of Shearwater’s new album, “The Golden Archipelago,” features strikingly dramatic imagery. A man on a canoe, completely covered in a white sheet, follows a golden, sunlit pathway toward a lush island. It suggests a reversion to an innocent and natural life, immediately hinting at the album’s anti-societal theme. Unfortunately, after appreciating the cover, it is probably best to leave “The Golden Archipelago” alone, as the album fails to achieve the quality of music necessary to back up such a powerful message...
...which depicts a man being tortured by the man-made world. At the climax of the song, Meiberg screams out, “Chain him to the burning carousel / Till the horses tire / Blast away the bearings of his life / Till his eyes are wild / Till his eyes are white.” This violent imagery is the epitome of how appalling Meiberg’s hatred for the man-made can be. Yet his overbearing words suggest that he is trying too hard to let us know just how much he cares...