Channa Horwitz () was born in Los Angeles, where she lived and worked. Known for her tightly controlled approach to geometric abstraction, Horwitz devised a conceptual system for drawing called Sonakinatography in which abstract elements (initially sound, motion, and position) are tracked through stepwise transformations and represented graphically on eight-to-the-inch square grids. In each, the numbers one through eight are represented graphically by color or symbol and plotted according to an initiating set of rules that ultimately created her compositions. Sequencing, seriality, and iteration are all key dynamics in her work.
Over time, new series spawned from existing ones like the branching of an evolutionary tree. With each alteration of the starting variables in the system, a new body of work arose. Horwitz built her visual systems with an exacting rigor, yet was consistently guided by an openness to new possibilities embedded within her existing architectures.
In the final years of her life, her extensive practice gained long overdue recognition for its contributions to the development of conceptual art and process-based abstraction. She showed at the 55th Venice
Weitgehend abgeschieden vom allgemeinen Kunstgeschehen schuf die Konzept- und Performance-Künstlerin Channa Horwitz mehr als vier Jahrzehnte lang ihr Werk, ehe ihre Leistungen im Alter von über siebzig Jahren internationale Anerkennung fanden. Ihre ernsthafte Entschiedenheit, eine eigenständige Position herauszubilden, führte sie als junge Frau an mehrere Kunsthochschulen und zuletzt an das interdisziplinär ausgerichtete California Institute of the Arts, wo sie zu Beginn der Siebzigerjahre unter anderem bei Allan Kaprow und John Baldessari studierte. Bereits in ihrem Entwurf einer lichtkinetischen Skulptur, den sie für die zukunftsweisende Ausstellung Art and Technology im Los Angeles County Museum of Art einreichte, experimentierte sie mit der Visualisierung von Rhythmus, Zeit und Bewegung, die sie an die aktuellsten technologischen Möglichkeiten anknüpfte. Auch wenn ihr Beitrag nicht realisiert wurde, gilt er als Ausgangspunkt für Horwitz’ vielleicht bekannteste Werkreihe Sonakinatography, deren grafische Notationssysteme Klänge, Zeit und Farbe nach kombinatorischen Prinzipien sichtbar machen.
Die Wurzeln von Channa Horwitz’ Schaffen liegen in einer Epoche, in der die kün
Estate of Channa Horwitz
Born in Los Angeles, where she lived and worked for her entire life, Channa Horwitz (–) studied graphic design in the early s at Art Center College of Design and Fine Art at Cal State Northridge in the early s. In she received a BFA from the California Institute of the Arts in Valencia, California. There she studied with more well-known peers John Baldessari and Allan Kaprow, participating in some of Kaprow’s notorious ‘Happenings’ and creating her own. Now regarded as an important proponent of Conceptual Art and West Coast Minimalism alongside Mary Corse, John McCracken and others, Horwitz only received art world endorsement much later in life, when she was included in the Whitney Biennial () and the Venice Biennale () in the year of her death, aged
Most recently Horwitz was exhibited in solo exhibitions at the Museo de Arte Contemporáneo de Castilla y León, León (), and the Contemporary Art Gallery, Vancouver (). Her work was included in "Thinking Machines: Art and Design in the Computer Age, ", at The Museum of Modern Art, New York (), and in , The Museum of Modern Art, New York organized a solo presentation of acquired works, as part of the
Storm Women of today: Channa Horwitz
Small, colored squares dance as if on the vertical drawn lines of a musical score, giving rise to patterns and sequences of color. Tiny numerals are to be seen next to them. A key on the edge of the picture offers hints on how to decipher the composition. In her series entitled “Sonakinatography”, Channa Horwitz () made use of a notation system she had devised herself and which used graphs, figures and color to represent motion, sound and rhythm under spatio-temporal conditions. One inch stands for a heartbeat or “beat” for short – one, two, three, four, five, six, seven, eight. Each numeral is assigned to a specific color. Using this deductive logic, which she calls her “visual philosophy”, Horwitz created numerous works that are astonishing in their precision and possess a quite unique aesthetic appeal of their own.
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