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| | | | Roni Horn: Wits' EndText by Michelle White.
 Horn’s silkscreens of crowdsourced clichés and colloquialisms celebrate the instabilities of the vernacularIn the two series of drawings that comprise Wits’ End, Roni Horn (born 1955) takes handwritten idioms, clichés and colloquialisms as her source material. Horn asked approximately 300 people to write down five of these vernacular phrases, which were then made into individual silkscreens. In Wits’ End Sampler (2018), shown at the Menil Drawing Institute in Houston, Texas, in 2018–19, the idioms are screened in a unique configuration directly on the wall; Wits End Mash (2019) consists of compositions of 75 to 350 idioms silkscreened on paper.
These drawings engage the “moments when language fails and connotation migrates,” with meaning that “delights in instability and movement,” as Michelle White writes in her essay included in this volume.
Wits’ End is the seventh in a series of books by Horn gathering series of works, two of which—bird (2008) and aka (2010)—were published by Hauser & Wirth Publishers.
Featured image is Roni Horn Wits’ End Mash (swimming with the fishes) (Detail), Silkscreen on paper, 49 × 62 in. / 124.5 × 157.5 cm, © Roni Horn. Courtesy the artist and Hauser & Wirth Publishers. |
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FORMAT: Hbk, 11 x 12 in. / 120 pgs / 52 color.
LIST PRICE: U.S. $45.00
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ISBN: 9783906915654
PUBLISHER: Hauser & Wirth Publishers
AVAILABLE: 11/23/2021
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| Roni Horn: Wits' End Published by Hauser & Wirth Publishers.
Text by Michelle White. Horn’s silkscreens of crowdsourced clichés and colloquialisms celebrate the instabilities of the vernacular In the two series of drawings that comprise Wits’ End, Roni Horn (born 1955) takes handwritten idioms, clichés and colloquialisms as her source material. Horn asked approximately 300 people to write down five of these vernacular phrases, which were then made into individual silkscreens. In Wits’ End Sampler (2018), shown at the Menil Drawing Institute in Houston, Texas, in 2018–19, the idioms are screened in a unique configuration directly on the wall; Wits End Mash (2019) consists of compositions of 75 to 350 idioms silkscreened on paper.
These drawings engage the “moments when language fails and connotation migrates,” with meaning that “delights in instability and movement,” as Michelle White writes in her essay included in this volume.
Wits’ End is the seventh in a series of books by Horn gathering series of works, two of which—bird (2008) and aka (2010)—were published by Hauser & Wirth Publishers.
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