"Originally I thought I would model the series after Plato's Dialogues but then I thought that would be a bit much," Roni Horn said about her books. She chose Diderot's Encyclopaedia instead. Never mind; modesty is not a virtue in art, and the six publications that now constitute Horn's ongoing series, To Place, have defied it with progressive vigor.
The most recent, Haraldsdottir, is a wordless volume of similarly composed, full-bleed, tightly cropped head shots of an athletic-looking young blond named Margret. The photos are both black and white and, later in the hook, full color. Sometimes there are two to a spread, and when they appear one at a time, they jump from left to right in unpredictable rhythms. Margret is always wet, and sometimes visibly up to her chin in water. Her expression varies, subtly at first, from impassive to angry to quizzical to just barely off guard. When her tightly clamped mouth finally opens to show a bit of tooth - it's hardly a smile - the effect is almost comically erotic.
Haraldsdottir is the first book in To Place that constructs anything like a personal narrative (it is also the first to be preceded by an exhibition of its images). But in most important ways it is consistent with Horn's …
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