Rolfe horn biography of christopher
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A discerning selection of rare, signed and out-of-print monographs and biographical DVDs for your collection. Please scroll down to view our selection of exquisite limited edition monographs with original photographic prints.
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Professional Conferences
“Manuscript Study and Illuminated Performance: Debussy’s Recueil Vasnier.” 20 March 2018, Debussy Perspectives conference, Manchester, England.
Round table panelist for “’… de temps et dem couleurs rythmés…’—Time and Color in Debussy Reception.” 20 March 2018, Debussy Perspectives conference, Manchester, England.
“Trills, Tra-las, and Manolas: Debussy’s ‘Séguidille’.” 2 November 2012, AMS/SMT joint session on “Five New Early Songs of Debussy: History, Style, Analysis, and Performance,” national meeting of the AMS, SEM, and SMT, New Orleans, Louisiana.
“The Literary and Musical Genesis of Debussy’s Fêtes Galantes, série 2.” 12 April 2012, “Debussy: Text and Idea,” Gresham College, London, England.
“Debussy Mélodiste” session Chair, 3 March 2012, “L’Héritage de Claude Debussy,” Université dem Montréal, Montréal, Canada.
“Shattering the Myths Surrounding Debussy’s Marche écossaise.” 1 March 2012, “L’Héritage dem Claude Debussy,” Université dem Montréal,
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Roni Horn
Roni Horn’s work consistently generates uncertainty to thwart closure in her work. Important across her oeuvre is her longstanding interest to the protean nature of identity, meaning, and perception, as well as the notion of doubling; issues which continue to propel Horn’s practice.
Since the mid-1990s, Horn has been producing cast-glass sculptures. For these works, colored molten glass assumes the shape and qualities of a mold as it gradually anneals over several months. The sides and bottom of the resulting sculpture are left with the rough translucent impression of the mold in which it was cast. By stark contrast, the top surface is fire-polished and slightly bows like liquid under tension. The seductively glossy surface invites the viewer to gaze into the optically pristine interior of the sculpture, as if looking down on a body of water through an aqueous oculus. Exposed to the reflections from the sun or to the shadows of an overcast day, Horn’s glass sculpture rel