Roni Horn AKA Roni Horn is a must-see restrospective by painter/photographer/sculptor/poet named…you guessed it:  “Roni Horn.” 

At Boston’s  Institute of Contemporary Art, the show, the first to compile such a large body of her work,  explores the changing nature of identity and perception.

In several galleries, the show  does so through photographic portraits of the artist and others at different stages of life.  

On the ICA’s first floor, photographs of the artist juxtapose images of her looking  traditionally masculine with others in which she appears “traditionally feminine–” from early childhood to the present.

On the fourth floor,   large portaits of her niece, also taken at different ages,  show slightly different expressions, moods, attitudes– are repeated, Warhol-like, in photo after photo.

Another gallery features pairs of seemingly identical photos of the heads and necks of owls and other birds taken from behind. 

Yet another includes two identical? photos of a white owl on a black perch.

Dead Owl, 1998

An ICA brochure explains  that many of Horne’s works are  “composed as pairs, series or with multiple sides, inviting us to notice subtle yet infinte difference between their parts. ”

I was particularly intrigued and impressed with Horn’s large format photographs of water in nature–roiling, calm, on rocks, with glints of sun–many taken of London’s River Thames–and Horn’s accompanying poetic commentary on the changing nature of water and our perception of it. 

Still Water, 1999

The “water” gallery  also includes two glass sculptures–one largely clear and white, the other mostly black–which, at times,  appear to be receptacles filled with water but have surfaces that seem to change shape. 

  Through a doorway in this gallery, the viewer can see out onto the water in Boston Harbor–highlighting all the more our involvement in/relation to/changing perception of the substance that is part and parcel of our existence–but can also destroy us.  

I also enjoyed Horn’s colorful glass sculptures–one, entitled “Pink Tons” , is the largest chunk of glass ever cast; the other, a  red  hassock-like piece with a squished-in corner that reminded me of a gigantic “gummy bear.”

Pink Tons

Both appeared to change in form and texture depending on the viewer’s vantage point. 

“Peer over the top of Pink Tons’ opaque cast sides into a seemingly liquid center that reacts to the atomsospheric changes of Boston’s light and weather. This five-ton glass cube is at once imposing and inviting, brutish yet pink, ”  the  brochure explains.

“Integrating difference is the basis of identity, not the exclusion of it,” Horn writes. “You are this and this and that….”

Not only is each work beautiful and provocative in itself–but the show as a whole,  which integrates a multitude of media and art forms,  is a brilliant expression encorporating the artist’s multiple talents and perceptions –and our own.  

—Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group. We also publish HarrisCom Blog and Ithaca Diaries Blog.

The Wall Street Journal editorializes rabidly that the about-to-be adopted health reform will cost  multitrillions of dollars, that health insurers will become regulated public utilities, that Big Pharma, the American Medical Association, the American Hospital Association, the Federation of American Hospitals, the Business Roundtable  and even  Wal-Mart “have made themselves more vulnerable to the gilded clutches of the political class…all leading to higher taxes, slower economic growth and worse medical care.”

The New York Times calls the reform a triumph for countless Americans who have been victimized or neglected by their dysfunctional health care system…providing coverage to tens of millions of uninsured Americans, prevent the worst insurance company abuses, and begin to wrestle with relentlessly rising costs — while slightly reducing future deficits.

The Boston Globe says that the reform has split Massachusetts along party lines.

According to the Globe:

 Republican gubernatorial candidate  Charles D. Baker Jr., a former health insurance CEO, believes  the package will “increase the deficit and result in higher taxes or cuts in federal aid for teaching hospitals, medical device companies, and other health care firms that make up one-third of the Massachusetts economy.”

  Independent candidate  State Treasurer Tim Cahill  says the legislation will “wipe out the American economy within four years.’’

 I do believe that  taxes will go up;  that  government involvement will create confusion and extra layers of bungling bureaucracy; and that, because I’ll be on Medicare by the time it’s fully enacted, it won’t benefit me personally, at all.

But every developed nation but one believes its citizens deserve to stay alive and well. 

Healthier people are more energetic and productive;  nipping disease before it reaches costly later stages will save money in the long run; perhaps some oversight will focus more attention on streamlining hospital practices or unnecessary care.

While the legislation needs tweaking and will be subject to change, I firmly support it. It’s the right thing to do.

I was  watching Judge (Madam, you’re an idiot)  Judy  on TV when out of the corner of my eye a brown furry-looking thing the size of my  shoe  scurried under the sofa I was lying on.

Eeek!

 In Math of Publishing Meets the E-Book  ( New York Times , Feb. 28, 2010)  reporter Motoko Rich considers mainly publishers’ profits in her article about the current debate about the pricing of  e-books versus printed ones. She does point out, however, that authors, earning 15% on a book that sells for $26,  would come away with almost $3.90 after paying back any advances on royalties.