Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. Oil on Linen - Cheim Read Gallery (New York), Content compiled and written by Jen Glennon, Edited and revised, with Summary and Accomplishments added by Ruth Epstein.
The series is based on declassified documents made public following the Freedom of Information Act.

Signboards were capable of displaying blocky letters in varying fonts, colors, and simple graphics. Holzer's initial public works, Truisms(1977–79), are among her best-known.

Many of the bones represent parts of the body typically associated with feminine beauty and sensuality: teeth, shoulders, thighs, ribs, back, fingers, and pelvis. Holzer's ongoing work on declassified National Security Archive information led her to partially or completely censored documents.
While ostensibly protecting American citizens and military personnel, these documents may also be concealing government abuses of power. View Jenny Holzer’s 733 artworks on artnet. "Jenny Holzer Artist Overview and Analysis". Bronze Wall Plaque - Museum of Modern Art. Even in a gallery, this work blends into the environment, rather than standing out. One includes a computerized Spectacolor graphic of a woman's face alongside the words, "What urge will save us now that sex won't?" In her light projections dating from 2004 onward, Holzer has been focusing on large-scale text-based images projected onto the sides of buildings.

The bones are adorned with rings engraved with text from three poems in English and German, each offering the perspective of a perpetrator, a victim, or an observer. The date appears in the bottom right corner - 24 May, 2001. Holzer's ongoing work on declassified National Security Archive information led her to partially or completely censored documents. LED Sign in Powder Coated Aluminum Housing - The Whitney Museum of American Art. Instead of institutional signage, however, Holzer's plaques address the viewer directly. Language, in this case its selective omission and absence, remains Holzer's steadfast focus. Components of this piece include a table of human bone remnants, LED text boards, and photograph of words written on skin. Among the most visually striking of Holzer's works, her installation at the Guggenheim in 1989 contained blinking messages from her various series, spiraling down the interior ramp of the famous building. Digital Photograph of Xenon Light Projection on Glass and Steel - Bregenz, Austria. By flooding this hallowed space with technology not normally considered art, Holzer pushed the everyday into confrontation with the eternal.

They first appeared as anonymous broadsheets that she printed in black italic script on white paper and wheat-pasted to buildings, walls and fences in and around Manhattan. All Rights Reserved |.

The organized, systematic rapes committed against Bosnian women during the war in the former Yugoslavia inspired this piece, and the title is taken from a German word that mingles murder and sexual pleasure. Concentrating on documents that have been partially or almost completely redacted with censor's marks, Holzer calls viewers' attention to the fact that while these classified documents have been made public, much of their significance remains hidden.

©2020 The Art Story Foundation. Other statements draw attention to social injustices such as sexism and homelessness. Evidence of Holzer's range as an artist and story teller, this focused, close-up, highly personal exploration of the devastating consequences of war offers a dramatic counterpoint to the detached, electronic mediation we have come to expect from her. Jenny Holzer is an American Conceptual artist best known for her text-based public art projects. In the Living Series, Holzer used bronze plaques, the sort on which names of donors, historical dates and other information are typically inscribed. At first glance, this piece could easily be mistaken for an electronic signboard transmitting public announcements, instructions, or advertisements. Here, in the space below the yellow bar, the barely visible painted text appears: "A group presently in the United States plans to conduct a …

The point of the work and its value as art forces us to question our relationship with the technology we often take for granted. Here, in the space below the yellow bar, the barely visible painted text appears: "A group presently in the United States plans to conduct a terrorist operation involving the use of high explosives." [Internet]. The messages drew from a variety of voices, perspectives, beliefs, and biases, prompting viewers to choose which messages to agree with or discard, highlighting that truth is relative, not absolute. Human Bone, Engraved Silver, Wooden Table, 4LED Signs, Color Photographs. In the Living Series, she claimed her aim was "to have the look of a voice of authority, of the establishment" while remaining anonymous. Text from these poems also appears on LED boards, and on the skin in the photographs, mixing the material, so that it is impossible to determine who is speaking. Extended tricolor LED electronic signboard - Guggenheim Museum. Some issue direct commands to viewers.

In Xenon for Bregenz, the interplay between light and shadow in the projection itself is a powerful metaphor for this tension. The work seen here is projected onto the side of the Kunsthaus Bregenz building - the contemporary art exhibition center in Austria. The addition of text calls attention to its absence elsewhere in the image. When we do read the text, it is inconclusive, articulating a train of thought that may strike us as humorous, or anxiety provoking, depending on the day and the viewer, but which ultimately leaves us hanging.

Vertical bands of color radiate across the rest of the canvas in a manner reminiscent of mid-century Color Field Painting. See available sculpture, prints and multiples, and paintings for sale and learn about the artist. Jenny Holzer's light projections on the façade of 30 Rockefeller Plaza. In late 1980, Holzer's m… Using billboards, jumbotrons, lighted signs, and walls, Holzer uses city streets and areas of public interaction as her canvas. Holzer purchased the bones from a dealer in New York (they are not bones from actual victims), and displays them as if for scientific examination. Though always political, from 1993 onward, Holzer became more explicitly and directly engaged with the physical and mental impacts of violence and trauma. Whereas in other contexts Holzer's signs were about blending in, in the context of the Guggenheim it was about clashing with the austere formalism of the famous 20th-century spiral building. Her insistence, however, on calling attention to a contemporary and controversial subject, however, could not be more different from the aims of mid-century abstraction. Roberta Smith of the New York Times called it "a vast darkened cave with glowing embers at its center." The main focus of her work is the delivery of words and ideas in public spaces. She printed other Truisms on posters, T-shirts and stickers, and carved them into stone benches. Here, at an early moment in Holzer's career, we see the germ of an idea that would carry her career forward: the notion of blurring the boundary between public and private, and making us want to know more about the source of authority that displays written information. Enigmatic, often inconclusive phrases address the necessities of life: eating, breathing, sleeping, human relationships, and daily anxieties. These one-liners are a distillation of an erudite reading list from the Whitney Independent Study Program, where she was a student. Rather than seeking transcendence Holzer is calling for action.

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