rebecca horn

A detailed Summary of rebecca horn


Rebecca Horn was born in 1944 in Germany where she grew up to become one of the most illustrious contemporary German artists of the twentieth-century. She is still currently living and now lives all over the world having homes in New York, Berlin, and London. Her unusual and intense performance pieces have brought her a spot in the art books. In her work, she combines a variety of media: video, performance, installation, and sculpture, which are very characteristic of her style (csw).

Horn's pieces speak to explore the themes of sexuality, human vulnerability and emotional fragility (artfilm). Her references to the human body and the human soul are reoccurring in many of her pieces. Rebecca Horn is more recognized to bring a fascination with transformation, a loss or failure to attain, a sense of fragility and survival, and the passage of time itself into her performance pieces (Wilkins, Karen). She brings to her works reoccurring references and themes like the eggs, the pendulums, the birds, the alchemical fluids, the allusions of hermetic transformation, and utopian quest according to Wilkins.

Almost all of Rebecca Horn's pieces are made from "non-art" materials, partly of choice and partly of necessity.


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In Rebecca Horn's performance pieces, she pays a close attention to details when construction her exhibitions. The element of timing is crucial in all her pieces, while also each individual performance piece is connected with the element of time. At her best, Horn catches the unawares. While you watch one piece "perform" or wait to see how or when or if it will come to life you will take a glimpse at another in brief motion out of the corner of your eye, or hear the sound of its falling back after its exertions. While being distracted, the piece you were concentrating on has had its moment of action and is once more at rest. According to Horn, it's very much like life; timing counts for a lot. It was both entertaining and interesting to watch exhibition visitors change the rhythm of their attention, following the dictates of Horn's measurement of time, a rhythm regular but widely spaced for individual works, yet cumulatively irregular and unpredictable for the exhibition !

In her earlier years, Horn became confined to a bed for an extended period after severely damaging her lungs with more "traditional" art materials in the 1960s. Her use of fiberglass and resins became very harmful to her health, which soon forced to find new ways of working. The experience of her illness and her hospitalization lead her to a new direction which still remains central to Horn's art. Because her materials changed she now depends on sophisticated technology and careful engineering, rather than domestic craft, but he

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Approximate Word count = 1056
Approximate Pages = 4 (250 words per page double spaced)

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