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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.
Recommended