“Everyone has a story about the weather. This may be the single thing each of us holds in common. And though the weather varies greatly from here to there, it is, ultimately, one weather that we share. Small talk everywhere has occasioned the popular distribution of the weather. Some say talking about the weather is talking about oneself. And with each passing day, the weather increasingly becomes ours, if not us. Weather Reports You is one beginning of a collective self-portrait,” writes Roni Horn, “a metaphor for the physical, metaphysical, political, social and moral energy of a person and a place”.
This book is a new edition of the original Weather Reports You of 2007, a gathering of oral reports on the weather made on location in Iceland, accompanied by snapshots taken at the time and place of each interview.
In the south of Iceland is Landbrot, a place closer to fairy tales than to science—indeed, a place easy to imagine as the singular source of fairies and elves worldwide. It is easy, too, to imagine the sensual comfort and satisfaction to be found there. Mother, Wonder is the eleventh book in Roni Horn’s (born 1955) ongoing series To Place, which she initiated in 1989 and exists only in book form. All the volumes focus on Iceland and the evolving experiences of the artist there; together they form a flowing dialogue addressing the relationship between identity and place. The titles to date in the coveted To Place encyclopedia are Bluff Life (1990), Folds (1991), Lava (1992), Pooling Waters (1994), Verne’s Journey (1995), Haraldsdóttir (1996), Arctic Circles (1998), Becoming a Landscape (2001), Doubt Box (2006) and Haraldsdóttir, Part Two (2011).
Published by La Fábrica. Text by Carmen Maria Machado, Isabel de Naverán, Bárbara Rodríguez.
This artist's book compiles a selection of work by Roni Horn (born 1955), whose diverse practice spans photography, sculpture, drawing and conceptually oriented book projects. The book includes a text by American writer Carmen Maria Machado and an interview with the artist.
Remembered Words is the title of a series of watercolor paintings that Roni Horn (born 1955) created in 2013 and 2014. An important part of Horn's work revolves around language. In this new series she pairs "remembered words" with dots, adding the words to the dots like footnotes or captions, creating a kind of personal, even autobiographical dictionary. The combination of the dots--which are sometimes properly arranged in color-coordinated rows, or in other drawings distributed in a random and overlapping manner, wild and out of control--with the words creates unexpected relations and meanings, long strings of associations, absurd and beautiful simultaneously.
Published by Hauser & Wirth Publishers. Text by Michelle White.
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.
This publication alphabetizes and enumerates each word used in the 370 drawings made by American artist Roni Horn (born 1955) for Remembered Words (2012–13), a series of watercolor paintings punctuated by words recalled, without preference or hierarchy, from life experience.
Dogs' Chorus presents a group of recent drawings by Roni Horn (born 1955). Following up on Th Rose Prblm (2016), Horn cuts apart original drawings of texts and reassembles them into compositions that are cumulative and complex. Here, Horn combines a line from Shakespeare’s Julius Caesar with common idioms.
Her translation of these mementos—mostly from North America, but some from farther afield—lays bare the interplay of their various parts, questioning how pieces of content come together to form the basis of complex cultural phenomena like tourist attractions, popular science and national identity.
Published by Hatje Cantz. Edited with text by Riehen/Basel, Theodora Vischer.
Roni Horn (born 1955) has been working in diverse media since the late 1970s, creating drawings, photographs, artist's books and sculptures. This catalog presents a selection of works by Horn from the past 25 years, as well as new works.
Roni Horn’s (born 1955) The Selected Gifts, 1974–2015 is a collection of photographs documenting the history of gifts received over the course of the artist’s life. Collected together in this book they constitute a kind of self-portrait through objects.
The art of Roni Horn (born 1955) often revolves around language, poetry and literature. She works with literary texts, by authors such as the French philosopher Hélène Cixous and the Canadian poet Anne Carson. This volume shows a series of drawings, Hack Wit, developed between 2013 and 2015, in which Horn cuts up English figures of speech such as clichés and proverbs. For each work, the artist made two watercolors of a different proverb, cut them apart and then combined them into one. The result is a wild poetry that dances between meaning and absurdity, recognition and novelty. Anne Carson contributes a text, "Hack Gloss," in response to the Hack Wit drawings.
Published by Kukje Gallery. Edited with text by Aveek Sen.
The Sensation of Sadness at Having Slept Through a Shower of Meteors brings together new works by American artist Roni Horn (born 1955), continuing her 30-year artistic exploration of time, memory and perception. Horn's captivating yellow-green cast glass sculptures, simultaneously evoking land and sea, are juxtaposed here with her major photographic series You Are the Weather, Part 2, completed in 2011. Consisting of 100 photographs of a woman bathing in the hot springs and pools of Iceland, You Are the Weather, Part 2 documents the subtle shifts in her countenance over short periods of time.
PUBLISHER Kukje Gallery
BOOK FORMAT Paperback, 6.5 x 8.5 in. / 70 pgs / 22 color.
PUBLISHING STATUS Pub Date 6/23/2015 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 141
PRODUCT DETAILS ISBN 9780983446576TRADE List Price: $29.95 CDN $39.95 GBP £27.00
As the winner of the fourth Joan Miró prize, American artist Roni Horn (born 1955) received a monograph exhibition of her work at the Fundació Joan Miró in Barcelona and CaixaForum, which this volume accompanies. Though Horn considers drawing to be the activity unifying all strands of her work, she is prolific across multiple media, including sculpture, photography, books and works on paper. Her artistic practice links aspects of nature, landscape and materiality with the mechanics of perception and communication. As affirmed by this recent award, Horn’s oeuvre is endlessly open-ended. Roni Horn: Everything Was Sleeping as if the Universe Were a Mistake includes an interview with the artist by Julie Ault.
For this edition of La Fabrica’s Artist’s Portfolio series, Roni Horn (born 1955) contributes one of her most recent series, titled Untitled (Mother, Wonder). Horn’s 24 images are superbly reproduced loose-leaf in printed card covers, on heavy card stock.
Roni Horn's To Place series explores the connections between identity and location. This latest volume in the series is related to Haraldsdóttir, which was published in 1996. Using water as a context, the photographs of a woman create an intimate but ambiguous portrait where the face becomes the place. Haraldsdóttir, Part Two contains 100 photographs of the same subject taken 15 years after the publication of Haraldsdóttir. Each book is presented in a blue clothbound embossed slipcase and comes with a signed and numbered original color c-print.
Published by JRP|Ringier. Edited by Michaela Unterdörfer. Text by Tacita Dean, Briony Fer.
“If you were to ask me what I do, I would say I draw--this is the primary activity and that all my work has this in common regardless of idiom or material,” wrote Roni Horn in a letter to Paulo Herkenhoff in 2003. Born in 1955 in New York, Horn began developing her drawing technique in the early 1980s, using powdered pigment and varnish to produce soft, austere, floating abstractions that explored her now familiar preoccupation with pairs. Over the subsequent two decades, drawing has remained an essential dimension of Horn’s art--one that she has infused with her keen sculptural sensitivity to texture and the grander, almost spiritual possibilities of mass and volume. 153 Drawings presents for the first time a comprehensive selection of Horn’s drawings, ranging from the artist’s initial work with pigment to geometrically collaged works and extremely complex more recent drawings. This publication includes essays by British artist Tacita Dean and Briony Fer.
Published by Hatje Cantz. Edited by Ingvild Goetz, Larissa Michelberger, Rainald Schumacher. Text by Kirsty Bell, Ingvild Goetz, Roni Horn, Christy Lange, James Lingwood, Rainald Schumacher, Aveek Sen.
Based on the holdings of the Goetz Collection in Munich, and accompanying a 2013 exhibition there, this volume offers a concise Roni Horn overview. It includes Horn’s best-known series, such as You Are the Weather, To Place, a.k.a., Some Thames and Cloud and Clown. Throughout these sequences, Horn’s abiding motifs recur: water, weather, her adoptive home of Iceland, and more formal qualities such as repetition and permutation. The book shows how Horn’s major works can be experienced in ever-new constellations, arrangements and contrasts within the exhibition context. Also included here is a collection of key writings by Horn--“Making Being Here Enough,” “I Can’t See the Arctic Circle from Here,” “My Oz,” “Island Frieze,“ “When Dickinson Shut Her Eyes” and “Simple and Complete”--plus an interview with the artist conducted by James Lingwood.
Roni Horn's To Place series explores the connections between identity and location. Haraldsdóttir, Part Two is the tenth volume in this series, and is related to Haraldsdóttir, which was published in 1996. Using water as context, photographs of a woman create an intimate but ambiguous portrait where the face becomes the place. Haraldsdóttir, Part Two contains 100 photographs of the same subject taken 15 years later.
What do you know about water? Only that it's everywhere differently. --Roni Horn.
In 2000 Roni Horn published Another Water, an examination of the water of the River Thames through extensively footnoted photographs. This new edition of Another Water includes a new edit of the photographic aspect of the work. Water is a central theme for Horn: as a component of weather, a defining feature of her beloved Iceland, and as a beautiful, changeable element on which life depends. Another Water is an ode to the substance of water but also to its impact on identity and imagination--in Horn's words, "You can't talk about water without talking about oneself."
Published by Kukje Gallery. Text by Elisabeth Lebovici.
Well known for her sober sculptures and photographic meditations, Roni Horn (born 1955) has spent the last 30 years developing a body of work that explores the complex relationship between the viewer and the visual experience. The artist frequently installs a single piece on opposing walls or in adjoining rooms, or conversely mounts a series of closely related images in succession, as a vehicle for investigating the issues of doubling and identical experience that inform her overall practice. This volume is published for Horn's second exhibition at Kukje Gallery in Seoul and presents over 15 works ranging from photographic installations to sculptures and drawings. It includes her most recent series such as Portrait of an Image (with Isabelle Huppert) and Through 6, plus installation shots from important exhibitions throughout the world. Accompanying the many exquisite reproductions is an insightful essay by noted critic and curator Elisabeth Lebovici.
PUBLISHER Kukje Gallery
BOOK FORMAT Clth, 10.5 x 12 in. / 135 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 5/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 84
PRODUCT DETAILS ISBN 9788992233439TRADE List Price: $50.00 CDN $60.00
Published by Kunsthaus Bregenz. Edited by Yilmaz Dziewior. Text by Gary Indiana, Julie Ault.
Roni Horn's art engages a variety of media to elicit uplifting minimalist effects from sober materials, to scrutinize identities in the passage of time across a person's face, to make poetical effects in language and to track minute alterations in nature. These investigations often assume serial or paired formats. Among Horn's best-loved works are the "Library of Water," for which she photographed water from a number of glaciers in Iceland, and her stick casts of lines from poems by Emily Dickinson. Published for Horn's major exhibition at the Kunsthaus Bregenz in Austria, and designed in collaboration with the artist, Roni Horn: Well and Truly gathers the artist's major works of recent years, from artist's books to drawings, photographs and sculptures, and supplies a broad overview of her career.
PUBLISHER Kunsthaus Bregenz
BOOK FORMAT Hardcover, 8.75 x 12 in. / 96 pgs / 60 color.
PUBLISHING STATUS Pub Date 10/31/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 84
PRODUCT DETAILS ISBN 9783865608161TRADE List Price: $55.00 CDN $65.00
Published by Steidl & Partners. Introduction by Donna De Salvo, Carter E. Foster, Mark Godfrey. Text by Briony Fer.
Over the course of more than 30 years, Roni Horn has developed a body of work of concentrated visual power, classical in its restraint, beauty and sensitivity to material. Horn's pieces invite conceptual engagement, though her practice defies easy categorization, and also elicit in the viewer a refreshed attention to matter itself, to "make being here enough" (as the title of a previous monograph put it). Her subtle explorations of the complex energies between object and subject have expanded the vocabulary of every medium in which she works. This slipcased, two-volume set accompanies the most comprehensive overview of Horn's work to date--which opens at Tate Modern in London in February 2009 and then travels to New York's Whitney Museum of American Art in November of that same year--and has been overseen by the artist herself. The first volume includes a plate section of works in the exhibition with an essay by Briony Fer; the second volume, the subject index, is fully illustrated and includes texts on a variety of topics related to Horn's work by a host of prominent artists, critics, curators and cultural figures, alongside the artist's own writing. Born in New York in 1955, Roni Horn achieved international recognition in the 1980s, and her works have been the subject of numerous major exhibitions since. In 2007, she undertook Artangel's first international commission, creating Vatnasafn/Library of Water, a long-term installation in the town of Stykkisholmur, Iceland. She has had solo exhibitions at numerous leading art institutions, including Inverleith House, Edinburgh (2006), Fotomuseum Winterthur (2003), The Art Institute of Chicago (2004), Folkwang Museum, Essen (2004), Centre Pompidou, Paris (2003), Dia Center for the Arts, New York (2001-02) and Museo Serralves, Porto (2001).
Published by Steidl/Hauser & Wirth. Text by Philip Larratt-Smith.
Bird is the culmination of Roni Horn's long-running photographic series of taxidermied Icelandic wildfowl. Photographed at close range against white backgrounds which recall conventional studio portraiture, the birds are viewed from behind, abstracting their varied physiognomies and markings into inscrutable shapes and patterns. Despite the title's singularity, the birds in this series are presented as diptychs in order to compare and contrast different species. This gesture of doubling-as an aesthetic and conceptual strategy-has been a consistent motif for Horn since 1980, serving to invite careful scrutiny from the viewer. Horn's images are accompanied by a text from writer and curator Philip Larratt-Smith. In place of the usual catalogue essay, Larratt-Smith has compiled an extended series of quotes and anecdotes from film, literature, photographers' monographs and Horn's own writings.
Roni Horn was born in 1955 in New York, where she continues to live and work. Since earning her MFA from Yale University in 1978, she has shown her sculptures, installations and photographs extensively throughout the world. She has had solo exhibitions at the Dia Center for the Arts, the Whitney Museum of American Art and the Centre Pompidou in Paris, and her work will be the subject of a major retrospective at the Whitney Museum of American Art in 2009.
Published by Steidl/Artangel. Introduction by Roni Horn.
Everyone has a story about the weather. This may be the single thing each of us holds in common. And though the weather varies greatly from here to there, it is, ultimately, one weather that we share. Small talk everywhere has occasioned the popular distribution of the weather. Some say talking about the weather is talking about oneself. And with each passing day, the weather increasingly becomes ours, if not us. Weather Reports You is one beginning of a collective self-portrait. Over the past two years Roni Horn has been working with a small team in the south west of Iceland gathering personal testimonies from people talking about the weather. These "weather reports" include descriptions, reflections, memories and stories based on experiences of the weather that range from the matter-of-fact to the marvelous. The different nuances and usages of language suggest that the weather is not just a matter of meteorological conditions but is, in Horn's words, "a metaphor for the physical, metaphysical, political, social and moral energy of a person and a place."
Iceland is really the center of action for me, Roni Horn has said. "Since I grew up in New York people think I'm escaping from all its lunacy. Not at all. When I go to Iceland that's where I get nervous, where I think: 'Oh my God, this is intense.'" Horn's new book Herdubreid at Home is a collection of photographs of the Icelandic landscape. As with previous works by Horn, its focus is specific: the book concentrates on Iceland's beloved geologic mascot, the mountain Herdubreid, and on the related work of Stéfan V. Jónnsson, who painted the mountain throughout his life, and whose images have found their way into the homes of Icelanders across the country. Through this singular attention Herdubreid at Home conveys an intimacy that is particular to the book form. As Horn says, "a book is really a sensual…experience and I use these books to focus people in this very intimate one-on-one relationship."
Published by Steidl. Artwork by Roni Horn. Text by Dave Hickey.
Inspired by the philosopher and writer Hélène Cixous, which whom the photographer and artist Roni Horn has collaborated before, Index Cixous questions the nature of language in its most fundamental sense and proposes a version--one without words, but which can be read as any other. Both Horn and Cixous are concerned with communication wrought out of material space. Cixous writes about women's language arising from the female body, and she argues for a new language, one not in thrall to patriarchy but that acknowledges the life-giving force and history of the feminine.
In this collection of 120 black-and-white photographs, Roni Horn takes us on a journey through a locker room in Reykjavik, Iceland. With minimal movement between the camera and subject in succeeding frames, and through the use of a slow-shutter technique, this finely crafted body of work provokes the viewer to contemplate the subtleties of each image. A blur behind a portal suggests that someone else is in the locker room with the viewer. Room numbers, open and closed doors, and intersecting hallways give clues to the surroundings, and as we turn each page of the book, we sense the subtle shifting of time and space in photographs that reflect a sculptor's attention to the details of surfaces, repetition and form.
The modalities of appearance mark Roni Horn's series of 36 head shots of a clown. Originally seen in her Clowd and Cloun installation, a series of alternating images on the two motifs of the cloud and the clown, Horn's stunning photographs of the inevitable clown (he always looks the same) disintegrate the very consistency that makes a clown recognizable as a clown. The clown is a constant, a symbolic form whose identity is rooted in a conventionally defined appearance (red bulbous nose, a shock of bright frizzy hair, white pancake skin, an ear-to-ear grin), one that occludes the specifics of the persona--the player--who temporarily assumes that guise. Cabinet of repeats 36 times the dissolution of the clown's appearance and thus, perhaps, the defining features of the clown itself.
Published by Wexner Center for the Arts. Contributions by Amada Cruz. Text by bell hooks.
Emily Dickinson's poems stand alone in the English language in their severe yet wild shapeliness and unhindered dexterity of thought. In Earths Grow Thick, the American artist Roni Horn put those poems--or lines from them--to new uses, incorporating her words in a series of austere, stick-like sculptures. Horn makes similar use of William Blake, but her sympathy with the work of Dickinson is clear, and results in a beautiful form or word sculpture. This handsome catalogue is published in conjunction with the first exhibition to present the four bodies of Horn's work comprising the Dickinson sculptures. The illustrations are complemented by texts ranging from Judith Fox's interview with Horn to bell hooks' intimate recollections of her childhood introduction to Dickinson's work.
Published by Richter Verlag. Artwork by Roni Horn.
Roni Horn has established herself as one of today's foremost makers of language-based drawings and sculpture. This book reproduces over 80 of her works on paper in full color. They are by turns amusing, disturbing and provocative; Lynne Tillman's essay provides a perfect complement.