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...considered. No works by children, no commercially-produced paintings, and no tacky tourist art are permitted. Nor are kitschy paintings on black velvet, paint-by-numbers, or latch-hook rugs accepted. “Any of the aforementioned may be compelling,” reads the introductory wall text, “but are probably better suited for the Museum of Questionable Taste, the International Schlock Collection, or the National Treasury of Dubious Home Decoration.” Above all, submissions must be sincere attempts to make an artistic statement, not just spoofs competing for the “worst...
...White Noise” clocks in at a mere 117 pages, each of which gives the impression of a schoolboy’s essay that fell too far below page count; the line spacing feels tampered with, the sheets seem to contain a curiously low ratio of text to paper. Between each of the six sections lies a blank page—more space, another pause...
With footnotes of Horn’s meditations on the images below each photograph, there is a repeated application of text in an unexpected medium. The footnotes call attention to three separate, but linked relationships: Horn and the photograph, Horn and the viewer, and the image and viewer...
Horn has stripped away text, but still alludes to this discussion of artistic relationships, memory, and change through image and juxtaposition alone in her most recent piece, “a.k.a.” The work consists of pairs of framed photographs of the artist at various stages of her life. Like the photographs of the sea, each image is incredibly different despite being joined by the common denominator of subject matter—in this case, a frontal headshot of Horn...
...following text appears within a chart. Please see hardcopy or PDF for actual chart...