Ron

i Hor

n w

as b

orn

in 1

955

in N

ew Y

ork,

whe

re

she

cont

inue

s to

liv

e an

d w

ork.

She

rece

ived

a B

FA

fro

m t

he R

hode

Isl

and

Sch

ool

of D

esig

n in

197

5 an

d an

MF

A f

rom

Y

ale

Uni

vers

ity

in 1

978.

Sin

ce h

er f

irst

solo

sho

w a

t th

e K

unst

raum

in

Mun

ich

in 1

980,

sh

e ha

s

exhi

bite

d w

idel

y an

d w

as i

nclu

ded

in s

uch

maj

or s

how

s as

the

Ven

ice

Bie

nnal

e ( 1

997)

an

d

Doc

umen

ta

IX (

1992

).

Rec

ent

one-

pers

on

exhi

bitio

ns

wer

e pr

esen

ted

at t

he W

hitn

ey

Mus

eum

of

Am

eric

an

Art

, N

ew Y

ork

(200

0);

Mus

ee d

'Art

Mod

erne

de

la

Vill

e de

Par

is

(199

9);

De

Pon

t F

ound

atio

n fo

r C

onte

mpo

rary

A

rt,

Tilb

urg,

the

Net

herla

nds

(199

8;

1994

);

Fot

omus

eum

W

inte

rthu

r (1

997)

; an

d th

e W

exne

r C

ente

r fo

r th

e A

rts,

Col

umbu

s (1

996)

.

Hor

n's

Thi

ngs

Tha

t Hap

pen

Aga

in (

1986

) ha

s be

en a

lon

g-te

rm

exhi

bitio

n at

the

Chi

nati

Fou

ndat

ion

in M

arfa

, T

exas

, sin

ce

1989

.

sele

cted

bi

blio

grap

hy,

chro

nolo

gica

lly

arra

nged

T

his i

s M

e, T

his i

s Y

ou. P

aris

: Edi

tion

7L,

2002

.

Dic

tion

ary of

Wat

er. P

aris

: Edi

tion

7L,

2001

. T

ext b

y R

oni H

orn.

Stil

l Wat

er. S

anta

Fe:

SIT

E S

anta

Fe,

200

0. T

exts

by

Jan

Avg

ikos

, Kat

hlee

n M

erril

l Cam

pagn

olo,

and

Ron

i Hor

n.

Ano

ther

Wat

er. Z

uric

h: S

calo

, 200

0. T

ext b

y R

oni H

orn.

Ron

i Hor

n. Lo

ndon

: Pha

idon

Pre

ss, 2

000.

Tex

ts b

y T

hier

ry D

e D

uve,

Ron

i Hor

n, C

laric

e Li

spec

tor,

and

Loui

se N

eri,

and

an in

terv

iew

by

Lynn

e C

ooke

.

Eve

nts o

f Rel

atio

n. Pa

ris: M

usee

d'A

rt M

oder

ne d

e la

Vill

e de

Par

is, 1

999.

Tex

ts b

y M

arie

-Lau

re

Ber

nada

c, R

oni H

orn,

and

Nan

cy S

pect

or, a

nd a

n in

terv

iew

by

Laur

ent B

osse

.

You

Are

the

Wea

ther

. Zuric

h: S

calo

Ver

lag,

in a

ssoc

iatio

n w

ith t

he F

otom

useu

m W

inte

rthu

r, 1

997.

Ear

th G

row

Thi

ck. C

olum

bus:

Wex

ner

Cen

ter

for

the

Art

s, 1

996.

Tex

ts b

y A

mad

a C

ruz,

Em

ily

Dic

kins

on, S

herr

i Gel

din,

Fel

ix G

onza

lez-

Tor

res,

Ron

i Hor

n, b

ell h

ooks

, Jud

ith H

oos

Fox

, and

Sar

ah J

. Rog

ers.

Mak

ing B

eing

Her

e Eno

ugh.

Inst

alla

tion

s from

198

0 to

199

5. B

asel

: Kun

stha

lle, i

n as

soci

atio

n

with

Kes

tner

-Ges

ells

chaf

t, H

anno

ver,

199

5. T

exts

by

Ron

i Hor

n an

d T

hom

as K

elle

in.

Gur

gles

, Suck

s, E

choe

s. New

Yor

k: M

atth

ew M

arks

Gal

lery

, 199

5. T

ext b

y Ly

nne

Till

man

.

sele

cted

art

ists

bo

oks

TO

PL

AC

E, on

goin

g lim

ited-

editi

on b

ook

serie

s:

Boo

k 1:

Blu

ff L

ife.

New

Yor

k: P

eter

Blu

m E

ditio

n, 1

990.

14

colo

r im

ages

; edi

tion

of 1

150;

spe

cial

ed

ition

of

1 50;

36

pp.

Boo

k 2:

Fol

ds. N

ew Y

ork:

Mar

y B

oone

Gal

lery

, 199

1. 3

6 co

lor

imag

es; l

ette

rpre

ss;

editi

on o

f 70

0;

72 p

p.

Boo

k 3:

Lav

a N

ew Y

ork:

Ron

i Hor

n, 1

992.

16

colo

r an

d 29

trit

one

imag

es; l

ette

rpre

ss;

editi

on o

f 75

0; s

peci

al e

ditio

n of

1 00

; 92

pp.

B

ook

4: P

ooli

ng W

ater

. Col

ogne

: Wal

ther

Kon

ig,

1994

. 2

vols

.; E

nglis

h an

d Ic

elan

dic

text

; edi

tion

of

1 000

; sp

ecia

l edi

tion

of 6

. Vol

. 1 : 2

7 co

lor

and

25 d

uoto

ne im

ages

; 96

pp. V

ol. 2

: 4

colo

r im

ages

; 1 76

pp.

B

ook

5: V

erne

's Jo

urne

y. C

olog

ne: W

alth

er K

onig

, 19

95.

19 c

olor

and

8 d

uoto

ne i

mag

es; e

ditio

n of

1 00

0; 5

6 pp

. B

ook

6: H

aral

dsd6

ttir

. Den

ver:

Gin

ny W

illia

ms,

199

6. 3

0 co

lor

and

31 d

uoto

ne i

mag

es; e

ditio

n of

1 0

00;

spec

ial e

ditio

n of

1 00

; 96

pp.

B

ook

7: A

rcti

c Cir

cles

. Den

ver:

Gin

ny W

illia

ms,

199

8. 6

7 co

lor

and

7 du

oton

e im

ages

; edi

tion

of

1 650

; 14

0 pp

. B

ook

8: B

ecom

ing a

Lan

dsca

pe. D

enve

r: G

inny

Will

iam

s, 2

001.

2 v

ols.

, eac

h 22

col

or i

mag

es a

nd

44 p

p.; e

ditio

n of

900

; sp

ecia

l edi

tion

of 1

00.

site

map

and

che

cklis

t

----

>

---

---,

---

2 3

4

Par

t I

1.

Thi

s is

Me,

Thi

s is

You

, 199

9-20

00

96 p

hoto

grap

hs

each

1 2

Y, x

10

Y. in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

2.

Som

e T

ham

es, 2

000

32 o

f 80

pho

togr

aphs

ea

ch 2

5 x

38 i

nche

s C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

3.

Clo

wd

and

Clo

un (

Gra

y),

2001

28

pho

togr

aphs

: 14

of

16 c

loud

im

ages

, 27

x 3

5 in

ches

; 14

of

1 6 c

low

n im

ages

, 27

x 2

7 in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

4.

Unt

itled

(Y

es)-

1, 2

001

glas

s 46

x 2

6 Y

, x 1

7 in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

5.

Unt

itled

(Y

es)-

2, 2

001

glas

s 46

x 2

6 Y

, x 1

7 in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

Boo

ksho

p

Say

ing

Wat

er, 2

001

audi

o C

D

72 m

inut

es

Cou

rtes

y D

ia C

ente

r fo

r th

e A

rts

Bec

omin

g a

Land

scap

e T

O P

LA

CE

, ong

oing

lim

ited-

editi

on b

ook

serie

s, V

ol. 8

D

enve

r: G

inny

Will

iam

s, 2

001

Par

t II

1.

Thi

s is

Me,

Thi

s is

You

, 199

9-20

00

96 p

hoto

grap

hs

each

1 2

Y, x

1 0

Y. in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

2.

C/o

wd

and

Clo

un (

Blu

e),

2001

32

pho

togr

aphs

: 16

clo

ud i

mag

es,

27 x

35

inch

es;

16 c

low

n im

ages

, 27

x 2

7 in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

3.

Bec

omin

g a

Land

scap

e, 2

001

20 i

mag

es i

n 10

pai

rs:

6 im

ages

, 21

x 2

1 in

ches

; 14

im

ages

, 24

x 3

1 in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

4.

Unt

itled

(Y

es)-

1, 2

001

glas

s 46

x 2

6 Y

, x 1

7 in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

5.

Unt

itled

(Y

es)-

2, 2

001

glas

s 46

x 2

6 Y

, x 1

7 in

ches

C

ourt

esy

Mat

thew

Mar

ks G

alle

ry,

New

Yor

k

Sup

port

for

thi

s ex

hibi

tion

has

been

pro

vide

d by

Lan

nan

Fou

ndat

ion,

The

And

y W

arho

l Fou

ndat

ion

for

Vis

ual A

rts,

Wer

ner

Kra

mar

sky,

and

the

mem

bers

of

the

Dia

Art

Cou

ncil.

( )

( (

J

r ..

I C

E

0 I ·c

0 (l'. ~ Q. ~ 8

Ro

ni H

orn

P

art

I: O

ctob

er

17, 2

001-

Feb

ruar

y 17

, 200

2 "B

lah,

bla

h, b

lah,

you

r ha

ir,

Bla

h, b

lah,

bla

h, y

our

eyes

; B

lah,

bla

h, b

lah,

bla

h, c

are,

B

lah,

bla

h, b

lah,

bla

h, s

kies

."

-Geo

rge

and

Ira

Ger

shw

in,

"Bla

h, B

lah,

Bla

h" (

1930

)

Par

t II:

Feb

ruar

y 27

-Jun

e 16

, 20

02

"Bla

h, b

lah,

bla

h, b

lah,

moo

n,

Bla

h, b

lah,

bla

h, a

bove

; B

lah,

bla

h, b

lah,

bla

h, c

roon

, B

lah,

bla

h, b

lah,

bla

h, l

ove.

" -G

eorg

e an

d Ir

a G

ersh

win

, "B

lah,

Bla

h, B

lah"

(19

30)

Dia

cen

ter

for

the

arts

54

8 w

est

22n

d s

tree

t n

ew y

ork

Ro

ni

Ho

rn

"Bla

h, B

lah,

Bla

h,' t

he G

ersh

win

s's

satir

ical

ske

win

g of

sen

timen

ts n

ow s

o ro

utin

e as

to

be s

tulti

fied,

tea

ses

the

entr

ant

to R

oni

Hor

n's

exhi

bitio

n. I

s he

r tit

le a

fore

war

ning

? O

r an

apol

ogia

? O

r a

dive

rsio

n? I

nter

pret

ing

its r

ole

pose

s th

e di

lem

ma

of h

ow c

erta

in r

ecur

rent

fam

iliar

but

fun

dam

enta

l ex

perie

nces

-enc

ount

ers

with

fac

es a

nd c

loud

s, e

yes

and

skie

s­

mig

ht b

e re

anim

ated

, ho

w t

hey

mig

ht b

e vi

vifie

d, s

o th

at,

unbi

dden

and

unr

ehea

rsed

, th

ey

beco

me

once

mor

e ar

rest

ing

and

affe

ctin

g.

Que

stio

ns o

f di

ffere

nce

and

iden

tity

are

the

foun

datio

n st

ones

of

Hor

n's

prac

tice.

Thi

s

two-

part

exh

ibiti

on w

as s

peci

fical

ly d

evis

ed t

o m

anife

st s

uch

conc

erns

, in

bot

h its

for

m

and

cont

ent.

Con

tain

ing

two

scul

ptur

es a

nd t

hree

pho

togr

aphi

cally

bas

ed s

erie

s, e

ach

part

is s

imila

r in

str

uctu

re,

thou

gh d

iffer

ent

in s

ubst

ance

. E

ach

inst

allm

ent

incl

udes

the

tw

o-pa

rt

wor

k T

his

is M

e, T

his

is Y

ou (1

999-

2000

),

whi

ch i

s pr

esen

ted

on o

ppos

ite w

alls

of

the

entr

ance

gal

lery

, as

wel

l as

Unt

itled

(Y

es)-

I an

d U

ntitl

ed (

Yes

)-2

(bot

h 20

01),

tw

in

wor

ks-e

ach

a gl

ass

bloc

k, o

ne c

ryst

al c

lear

, hen

ce r

adia

ntly

tran

spar

ent,

the

othe

r bl

ack,

a de

pthl

ess

mirr

or. T

he r

emai

ning

wor

ks w

ill c

hang

e.

Tho

se w

ho v

isit

only

one

par

t w

ill h

ave

a ci

rcum

scrib

ed e

xper

ienc

e; f

or t

he w

hole

is

rela

­

tiona

l, cr

itica

lly e

ngag

ing

the

view

er a

s an

ess

entia

l ag

ent

who

int

erac

ts w

ith e

ach

of t

he

part

s. T

hat

inte

ract

ion

is c

ruci

al;

for

it is

onl

y in

mem

ory-

only

ov

er t

ime-

that

th

ese

dual

expe

rienc

es c

ome

toge

ther

to

disc

lose

the

bifu

rcat

ed u

nity

. Circ

umst

antia

l di

ffere

nces

also

inf

lect

eac

h vi

sito

r's e

xper

ienc

e. F

or e

xam

ple,

con

tinge

ncie

s of

lig

ht a

nd w

eath

er m

ay

subs

tant

ially

alte

r th

e ef

fect

and

im

pact

of

the

scul

ptur

e: i

n th

e la

te a

ftern

oon,

dire

ct s

un

raki

ng o

ver

the

sens

ual

curv

e of

the

gla

ss m

enis

cus

anim

ates

thi

s vo

latil

e tr

ansp

aren

t

wor

k in

viv

id b

ut u

npre

dict

able

way

s; m

ore

subt

le s

hifts

in

the

cool

nor

ther

n lig

ht i

n th

e

room

con

tain

ing

its c

ompa

nion

alte

rs t

he c

onfo

undi

ng r

efle

ctio

ns,

gene

rate

d as

the

spe

c­

tato

r ci

rcle

s ar

ound

it,

subj

ectin

g it

to s

low

sea

rchi

ng s

crut

iny.

But

, ev

en th

e se

quen

ce i

n

whi

ch t

his

pair

is i

nitia

lly e

ncou

nter

ed c

an f

orev

er i

nfle

ct o

ne's

rea

ding

. Whe

ther

one

scul

ptur

e be

com

es a

nd r

emai

ns d

omin

ant

or d

eter

min

ing

may

dep

end

on t

he o

rder

in

whi

ch t

hey

wer

e in

itial

ly d

isco

vere

d. O

n fin

ding

the

firs

t, on

e ne

ither

aut

omat

ical

ly n

or

nece

ssar

ily a

ntic

ipat

es t

he s

econ

d, b

ut,

havi

ng s

een

both

, on

e ca

n no

lon

ger

enga

ge w

ith

one

with

out

bein

g re

min

ded

of i

ts a

ntip

ode.

The

reaf

ter

the

two

are

inde

libly

con

join

ed,

seen

in

rela

tion

to e

ach

othe

r, c

ompl

emen

ting

and

detr

actin

g in

equ

al p

arts

.

Aut

onom

y, o

ne o

f th

e m

ost

priz

ed q

ualit

ies

of t

he q

uint

esse

ntia

l m

oder

nist

art

wor

k, i

s

unde

rmin

ed b

y m

akin

g ev

iden

t th

e ob

ject

's c

onte

xtua

l de

pend

enci

es-d

epen

denc

ies

deriv

ed f

rom

the

fra

min

g co

nditi

ons

of s

ite,

cont

ext,

inst

itutio

n, l

ingu

istic

s, a

nd s

emio

tics,

as w

ell

as c

ondi

tions

inh

eren

t in

the

very

act

of

obse

rvat

ion.

Whi

le a

ckno

wle

dgin

g th

ese

fact

ors

as in

tegr

al t

o ex

perie

ncin

g an

y w

ork

of a

rt, H

orn

acce

ntua

tes

the

spec

ifici

ty o

f th

e

enco

unte

r, i

ndiv

idua

ting

it by

str

essi

ng t

he w

ork'

s qu

iddi

ty, l

ocki

ng i

t in

to t

he h

ere

and

now

of t

he s

ense

d m

omen

t. S

till,

she

keep

s al

ive

awar

enes

s th

at t

his

expe

rienc

e w

ill i

nevi

tabl

y

feel

diff

eren

t in

mem

ory-

that

is

, with

hin

dsig

ht-a

nd,

yet

agai

n, w

hen

over

laid

by

a

subs

eque

nt e

ncou

nter

, an

d th

en b

y fu

rthe

r re

tros

pect

ive

refle

ctio

n, a

nd s

o on

. .

. .

) \

Fun

dam

enta

l to

tha

t di

alec

tic i

s th

e in

terp

lay

betw

een

stas

is a

nd m

otili

ty, b

etw

een

the

fleet

ing

and

the

fixed

. T

his

dyna

mic

is

insc

ribed

int

o ea

ch o

f th

e w

orks

in

the

show

, alb

eit

in d

iffer

ent

way

s, a

nd t

o va

ryin

g de

gree

s. T

he f

orm

s of

the

scu

lptu

res

are

mad

e fin

ite b

y

slow

ly s

olid

ifyin

g m

olte

n gl

ass,

an

ever

yday

mat

eria

l, tr

ansf

ixin

g in

its

raw

sol

id s

tate

. The

cast

ing

and

cool

ing

proc

ess

can

be t

race

d vi

a nu

mer

ous

telli

ng d

etai

ls,

for

in it

s fin

al

appe

aran

ce t

he w

ork

betr

ays

a ce

rtai

n le

vel o

f co

ntin

genc

y, o

f un

pred

icta

bilit

y.

Elu

sive

, am

orph

ous,

vol

atile

, and

res

tless

, the

sur

face

of

the

river

in S

ome

Tha

mes

(200

0)

cons

tant

ly m

utat

es.

Sho

t on

day

s w

ith s

tron

g cl

oud

cove

rage

, the

wat

er's

sur

face

, in

mirr

orin

g th

e sk

y ab

ove,

ref

ract

s an

d sp

lices

, sh

eers

and

fra

gmen

ts r

efle

ctio

ns t

o th

e

poin

t w

here

it

itsel

f be

com

es a

con

stan

tly m

utat

ing

cham

eleo

n, it

s id

entit

y-its

na

ture

and

char

acte

r-in

dete

rmin

ate,

in

deci

pher

able

. T

he f

roze

n m

omen

t of

the

res

ultin

g ph

otog

raph

ic

imag

e is

giv

en h

ighl

y am

bigu

ous

scal

e in

Hor

n's

sedu

ctiv

e pr

ints

, sin

ce i

ts t

imel

ess

geog

­

raph

y m

ay e

ither

be

read

as

vast

trac

ts o

f pr

istin

e te

rrai

n, o

r, c

onve

rsel

y an

d ju

st a

s ea

sily

,

as a

n in

timat

e im

mer

sing

det

ail

of a

mic

rosc

opic

top

ogra

phy,

who

se u

nsee

n bo

unds

onc

e

agai

n ca

nnot

beg

in t

o be

loc

ated

.

If re

flect

ion

and

tran

spar

ency

ren

der

para

doxi

cal t

he o

bdur

ate

phys

ical

ity o

f th

e sc

ulpt

ures

,

som

ethi

ng p

aral

lel o

ccur

s, a

lbei

t tr

ansp

osed

int

o a

very

diff

eren

t vo

cabu

lary

, in

Clo

wd

and

Clo

un (

Gra

y) a

nd it

s va

riant

Clo

wd

and

Clo

un (

Blu

e) (

both

200

1),

as c

onte

ndin

g m

odal

i­

ties

of p

heno

men

a an

d ap

pear

ance

are

exp

lore

d in

a s

erie

s of

alte

rnat

ing

imag

es o

f th

e

two

mot

ifs.

Giv

en th

at d

isso

lutio

n or

era

sure

is

inev

itabl

e, m

utab

ility

of

appe

aran

ce i

s

inte

gral

to

the

phen

omen

on o

f th

e cl

oud.

The

opp

osite

is

prop

osed

for

the

clo

wn,

for

it is

a

cons

tant

, a

sym

bolic

for

m w

hose

ide

ntity

is

root

ed i

n a

conv

entio

nally

def

ined

app

eara

nce,

one

that

occ

lude

s th

e sp

ecifi

cs o

f th

e pe

rson

a-th

e pl

ayer

-who

te

mpo

raril

y as

sum

es t

hat

guis

e. H

ere,

the

title

ass

umes

hei

ghte

ned

sign

ifica

nce:

the

mis

spel

ling

that

mel

ds o

ne

mot

if w

ith t

he o

ther

, con

fusi

ng g

ram

mar

but

mak

ing

sens

e no

neth

eles

s, a

dds

a di

men

sion

poss

ible

onl

y in

a te

xt t

hat

is r

ead.

Som

etim

es t

ange

ntia

lly,

som

etim

es d

irect

ly, l

angu

age

in H

orn'

s ar

t vi

es w

ith v

isio

n as

the

mos

t ba

sic

mea

ns o

f m

akin

g se

nse

of t

he w

orld

, of

shap

ing

expe

rienc

e. O

nly

rare

ly a

re th

e tw

o m

odes

col

laps

ed i

nto

or m

ade

cong

ruen

t w

ith

each

oth

er, a

s in

thi

s tit

le,

whi

ch s

ucci

nctly

em

bodi

es a

spec

ts o

f m

eani

ng t

hat

cann

ot

othe

rwis

e be

sta

ted

by e

nvis

agin

g w

hat

mig

ht n

ot o

ther

wis

e be

art

icul

ated

.'

Tak

en w

ith a

poi

nt-a

nd-s

hoot

ca

mer

a, th

e pa

nopl

y of

im

ages

of

a yo

ung

girl

that

mak

e

up T

his

is M

e, T

his

is Y

ou (

1999

-200

0)

is p

rese

nted

in

two

paire

d gr

oups

loc

ated

on

oppo

site

wal

ls o

f th

e ga

llery

. Min

ute

varia

tions

bet

wee

n in

divi

dual

pai

rs o

f po

rtra

its c

oun­

terp

oint

rad

ical

shi

fts i

n m

ood,

dre

ss, a

nd e

xpre

ssio

n. U

nsta

ble,

irre

solv

able

, the

rel

atio

n

of a

ppea

ranc

e to

ide

ntity

-inde

ed,

the

natu

re o

f id

entit

y its

elf-

is

reve

aled

as

a fu

ndam

enta

l

but

mut

able

dis

tinct

ion,

int

imat

ed i

n a

child

's e

xpla

nato

ry p

ropo

sitio

n: t

his

is m

e, th

is i

s

you.

The

mos

t m

inim

al v

isua

l diff

eren

ces

are

in p

art

the

prod

ucts

of

tem

pora

l di

stan

ce,

of

dura

tions

no

long

er t

han

wha

t it

take

s to

tur

n fr

om o

ne i

mag

e to

its

cou

nter

part

on

the

wal

l be

hind

. H

ighl

y at

tune

d to

suc

h sl

ight

shi

fts,

the

gaze

of

the

view

er v

olle

ys b

ack

and

fort

h, o

scill

atin

g be

twee

n m

ovin

g an

d fix

ing,

loo

king

and

rem

embe

ring,

enc

oun­

terin

g an

d ec

hoin

g, p

rese

nt a

nd p

ast.

Ulti

mat

ely,

the

amou

nt o

f in

form

atio

n

disc

lose

d is

too

grea

t-to

o pr

ecis

e, to

o sp

ecifi

c. L

ike

the

othe

r w

orks

in

this

exhi

bitio

n, T

his

is M

e, T

his

is Y

ou e

lude

s m

emor

y an

d re

quire

s be

ing

seen

aga

in

and

agai

n, y

et e

ach

time,

nec

essa

rily,

it s

eem

s di

ffere

nt,

for

the

view

er h

erse

lf

will

not

be-

inde

ed

cann

ot b

e-th

e sa

me.

Tha

t th

e pa

thos

of

impl

icit

loss

is

enca

psul

ated

with

in t

he t

rans

fixin

g pl

easu

res

of t

he v

ivifi

ed p

rese

nt b

ecom

es a

mut

ed r

efra

in h

aunt

ing

Hor

n's

wor

k, a

s it

does

Wal

lace

Ste

vens

's "

Bou

quet

of

Ros

es in

Sun

light

,' a

poem

Hor

n ch

eris

hes:

"T

oo

muc

h as

they

are

to

be c

hang

ed b

y m

etap

hor,

/Too

ac

tual

, thi

ngs

that

in

bein

g

real

/M

ake

any

imag

inin

gs o

f th

em l

esse

r th

ings

.'' H

owev

er, s

hifts

in

the

appa

r­

ent

real

ity o

f th

ings

ulti

mat

ely

coun

t fo

r le

ss th

an t

he c

hang

es t

he s

ubje

ct

unde

rgoe

s: "

And

yet

thi

s ef

fect

is

a co

nseq

uenc

e of

the

way

we

feel

,' th

e po

et

conc

edes

. H

orn

conc

urs:

"I'm

not

ver

y in

volv

ed w

ith t

he t

hird

dim

ensi

on i

n th

e

trad

ition

al w

ay w

e de

fine

scul

ptur

e,' s

he o

nce

decl

ared

in

an i

nter

view

. "I'm

mor

e

conc

erne

d w

ith h

uman

con

scio

usne

ss a

nd t

he w

ay i

t sy

nthe

size

s ex

perie

nce.

"3

Late

r in

the

sam

e po

em, S

teve

ns b

eaut

ifully

art

icul

ates

how

thi

s ap

preh

ensi

on

may

em

erge

: "O

ur s

ense

of

thes

e th

ings

cha

nges

and

the

y ch

ange

, /N

ot

as i

n

met

apho

r, b

ut i

n ou

r se

nse

/Of

them

. S

o se

nse

exce

eds

all m

etap

hor~

'

L.C

.

no

tes

1.

"The

var

ious

bod

ies

of w

ork

over

lap

natu

rally

,' H

orn

aver

s. 'T

he c

once

ptua

l or

igin

s of

one

wor

k of

ten

blee

d ov

er in

to a

noth

er f

orm

. T

hat's

why

I'v

e ne

ver

rest

ricte

d m

ysel

f to

any

sing

le i

diom

....

Eac

h fo

rm,

to m

e, c

omm

ents

on

and

enric

hes

the

expe

rienc

e of

the

othe

r.' R

oni H

orn,

'Inn

er G

eogr

aphy

,' a

writ

ten

inte

rvie

w b

y Ja

n H

owar

d, i

n R

oni H

orn:

Inne

r G

eogr

aphy

(B

altim

ore:

Bal

timor

e M

useu

m o

f A

rt,

1994

), n

. p.

2.

Wal

lace

Ste

vens

, 'B

ouqu

et

of R

oses

in S

unlig

h~' i

n C

olle

cted

Poe

ms

of W

alla

ce

Ste

vens

(N

ew Y

ork:

Alfr

ed K

nopf

, 19

65),

p. 4

30.

3.

Ron

i Hor

n, 'T

alki

ng O

bjec

ts:

Inte

rvie

ws

with

You

nger

Scu

lpto

rs,'

inte

rvie

w b

y W

ade

Sau

nder

s, A

rt i

n A

mer

ica

73,

no.

11 (

Nov

embe

r 19

85),

p.

120.

On

a la

ter

occa

sion

, she

ampl

ified

her

pos

ition

: 'I

unde

rsta

nd a

ll th

e w

ork

to b

e of

a n

onab

stra

ct n

atur

e re

gard

­

less

of

the

styl

e, fo

rm,

or e

xplic

it su

bjec

t m

atte

r be

caus

e al

l the

wor

k ...

is

con

cern

ed

with

evo

king

exp

erie

nces

tha

t ar

e in

the

mse

lves

-and

th

eir

rela

tions

hip

to y

ou, t

he

view

er-t

he

ultim

ate

subj

ect

and

cont

ent

of t

he w

ork.

I w

ant

to e

quat

e th

e ex

perie

nce

of t

he w

ork

with

its

mea

ning

.' (R

oni

Hor

n, 'F

ive

Que

stio

ns:

By

Way

of

Intr

oduc

tion,

'

inte

rvie

w b

y La

uren

t B

osse

, in

Ron

i Hor

n: E

vent

of

Rel

atio

n [P

aris

: M

usee

d'A

rt

Mod

erne

de

la V

ille

de P

aris

, 19

99],

p. 9

.)

4.

Ste

vens

, p. 4

31.