Abstract
Psychologically, the solo can be seen as the quintessential form of performance. The audience's relationship to the soloist is undivided, gratifying the performer's deepest desires not only to be seen but to be the center of attention. The solo is a means of presenting the self to others, generally in terms of a display of virtuosity designed to elicit the spectator's admiration and awe. Traditionally, the personal, psychological significance of the solo form remains unacknowledged in the performance, shielded, so to speak, by the display of virtuosity. But in the work of Jack Smith, Stuart Sherman and others, the submerged motives of the solo become apparent because it is the play of private obsessions that commands the audience's attention. Amy Taubin's solos are less personal than Smith's or Sherman's. But they are also concerned with emphasizing the solo as a representation of the self.
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