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Notes
Notes
1 Roni Horn, Still Water (Santa Fe, New Mexico: SITE Santa Fe and Lannan Foundation, 2000), n.p., plate 7, fn 24.
2 Roni Horn, interview with Claudia Spinelli, Journal of Contemporary Art, June 1995, http://www.jca-online.com/horn.html.
3 Ibid.
4 Cynthia Secor, ‘The Androgyny Papers’, Women’s Studies: An Inter-disciplinary Journal, 2, 2 (1974): 139.
5 Carolynn Lund-Mead, ‘Dante and Androgyny’, in Dante: Contemporary Perspectives, ed. Amilcare A. lannucci (Toronto, Buffalo and London: University of Toronto Press, 1997), 195.
6 Mary Daly, Gyn/Ecology: The Metaethics of Radical Feminism (Boston: Beacon Press, 1990), 387.
7 Kari Weil, Androgyny and the Denial of Difference (Charlottesville and London: University Press of Virginia, 1992), 147.
8 Horn, interview with Claudia Spinelli.
9 Kate Bornstein, Gender Outlaw: On Men, Women and the Rest of Us (New York and London: Routledge, 1994), 52.
10 Judith Butler, Bodies that Matter: On the Discursive Limits of “Sex” (New York and London: Routledge, 1993), 139–40.
11 This idea of an ‘identity in excess’ reflects Butler’s assertion that ‘What cannot be named or confirmed with satisfaction exceeds every apparently satisfying act of nomination.’ Ibid., 105.
12 Roni Horn, ‘The Master Chameleon’, Tate Etc 10 (2007), http://www.tate.org.uk/context-comment/articles/master-chameleon.
13 Roni Horn, Still Water, plate 12, fn 24.
14 Ibid., plate 2, fn 27–35.
15 I would like to thank the reviewer for pointing out this interesting connection.
16 Philip Shaw, The Sublime (Abingdon and New York: Routledge, 2006), 2.
17 See Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (Oxford and New York: Oxford University Press, 1990).
18 Joanna Zylinska, On Spiders, Cyborgs and Being Scared: The Feminine and the Sublime (Manchester and New York: Manchester University Press, 2001), 18.
19 Jeremy Gilbert-Rolfe, ‘Kant’s Ghost, Among Others’, in Differential Aesthetics: Art Practices, Philosophy and Feminist Understandings, eds Penny Florence and Nicola Foster (Aldershot: Ashgate, 2000), 114.
20 Barbara Claire Freeman, The Feminine Sublime: Gender and Excess in Women’s Fiction (Berkeley and Los Angeles: University of California Press, 1995), 10.
21 Ibid., 2.
22 Ibid., 11.
23 Ibid., 28.
24 In the science fiction film Solaris (originally published as a book by Stanislaw Lem in 1961), scientists sent to a space station orbiting an alien water-covered planet are faced with a world in which the oceans bear a consciousness and intelligence. These oceans are pictured by Tarkovsky as swirling, constantly changing masses of water that act as a mirror reflecting back the inner psychological and spiritual concerns of those who come into contact with it. See Andrei Tarkovsky, Solaris (1972).
25 Klaus Theweleit, Male Fantasies, Vol. 1: Women, Floods, Bodies, History (Minneapolis: University of Minnesota Press, 1987), 283–84.
26 Roni Horn, Another Water (Zürich: Scalo, 2000).
27 Patricia Yaeger, ‘Towards a female sublime’, in Gender and Theory: Dialogues on Feminist Criticism, ed. L. Kauffman (Oxford and Cambridge, Mass.: Blackwell Publishing, 1989), 202.
28 Ibid.