declared French author Simone de Beauvoir in her 1949 work, The Second Sex, a seminal text that still challenges and inspires artists, activists, policy makers and scholars. Curator Alenka Banco uses de Beauvoir’s stages of a woman’s life (as described in ‘Facts and Myth’s’, book one of The Second Sex) to explore the voice of women. Banco explains “there is a chronicle for womankind not unlike stations of the cross, journeying from girlhood, through puberty and sexual initiation, to maturity and old age. 21st Century Expressions of the Second Sex will showcase art as an individual reflection of womanhood” through selected works by leading female regional artists of various ages and at different points in life, but all created in the world in which women artists must live (to paraphrase de Beauvoir). The works are in a variety of media and may span a career or reflect new work produced specifically for the show.
Monthly Archives: March 2011
To preview some of the work of Claire Lachow, one of the studio art majors, check out this article at the Oberlin Review….
With the new semester fully underway, senior studio art majors are preparing shows of their work to exhibit. Come check out their work in Fischer Hall!
March 18th- Cooper Rogers
April 8th – Sam Draisin and Stephanie Lo
April 15th – Emma Louise Rodriguez and Rose Hermalin
April 29th – Claire Lachow and Isabel Yellin
Roni Horn explores the mutable nature of art through sculptures, works on paper, photography, and books. She describes drawing as the key activity in all her work because drawing is about composing relationships. Horn’s drawings concentrate on the materiality of the objects depicted. She also uses words as the basis for drawings and other works. Horn crafts complex relationships between the viewer and her work by installing a single piece on opposing walls, in adjoining rooms, or throughout a series of buildings. She subverts the notion of ‘identical experience’, insisting that one’s sense of self is marked by a place in the here-and-there, and by time in the now-and-then. She describes her artworks as site-dependent, expanding upon the idea of site-specificity associated with Minimalism. Horn’s work also embodies the cyclical relationship between humankind and nature—a mirror-like relationship in which we attempt to remake nature in our own image.
Since 1975 Horn has traveled often to Iceland, whose landscape and isolation have strongly influenced her practice. “Some Thames” (2000), a permanent installation at the University of Akureyri in Iceland, consists of 80 photographs of water dispersed throughout the university’s public spaces, echoing the ebb and flow of students and learning over time at the university.
Roni Horn has received the CalArts/Alpert Award in the Arts, several NEA fellowships, and a Guggenheim fellowship. She has had one-person exhibitions at the Art Institute of Chicago; Centre Georges Pompidou, Paris; Dia Center for the Arts, New York; Whitney Museum of American Art, New York; and Tate Modern, London (2009). Group exhibitions include the Whitney Biennial (1991, 2004); Documenta (1992); and Venice Biennale (1997), among others.
A survey show of Horn’s work, “Roni Horn aka Roni Horn, ” has been exhibited at the Whitney Museum of American Art, the Tate Modern, London, the Collection Lambert in Avignon, and the Institute of Contemporary Art in Boston.
Art21 page for videos, interviews, and images: http://www.pbs.org/art21/artists/horn/
Images of her work are also on display in the Art Library and on the first floor of the art building.