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For over four decades, Channa Horwitz produced drawings, paintings, and installations using a rigid formal vocabulary of her devising, built on a standardized grid (that of graph paper) and a system of notations based on the numbers 1 through 8, each assigned its own color. This system, which the artist termed “Sonakinatography,” was developed by Horwitz as a way of marking and expressing time, movement, and rhythm. Many of her works were originally intended as scores—detailed yet open-ended notations for dancers, musicians, and performers. The self-evidently labor-intensive and painstaking process of creating the drawings themselves suggests their additional role as records of the artist’s own time, labor, and thought.
Despite the many links between her work and other conceptual and performative artworks of the 1960s and ’70s, Horwitz worked in relative isolation and obscurity for decades. It was not until the last years of her life that her work was widely recognized—due in part to the way it anticipated and engages with that of a younger generation of artists who have emerged in an era defined by algorithms and code and who, like Horwitz, understand the relationship between images, actions, and performance.
Channa Horwitz’s work is on view in the Museum’s third floor galleries.
Academy Records and Matt Hanner
Ei Arakawa and Carissa Rodriguez
Robert Ashley and Alex Waterman
Lisa Anne Auerbach
Lucien Castaing-Taylor, Véréna
Paravel, and Sensory Ethnography Lab
Critical Practices Inc.
Zackary Drucker and Rhys Ernst
Radamés “Juni” Figueroa
Gaylen Gerber with David Hammons,
Sherrie Levine, and Trevor Shimizu
Tony Greene curated by Richard
Hawkins and Catherine Opie
Yve Laris Cohen
My Barbarian (Malik Gaines, Jade Gordon
and Alexandro Segade)
Sara Greenberger Rafferty
Steve Reinke with Jessie Mott
Valerie Snobeck and Catherine Sullivan
Charline von Heyl
David Foster Wallace