Jenny Holzer, Blue Cross, David Roberts Collection, London. Green Purple Cross,
She recorded the data by hand on sheets of paper, over drawings in total.
In Truisms, her first major text, written betweenshe further explored gathering and presenting information as art. With a sign or a poster in the street you have the space of time it takes a person to walk a few feet.
With Truisms, I offer what will work in seconds, or in slightly longer blocks of time for people who are willing and able to concentrate. At first she presented the phrases anonymously, printed on posters that she pasted on the streets of New York City.
How do you cope—within and without—when all these views are present, sometimes clamouring, sometimes fighting, sometimes murderous? She went on to print Truisms on objects such as condoms and disposable cups, as well as engraving them into silver spoons and bracelets.
Electronic signs used for news, advertising and the financial markets offered another vehicle for the project. Jack Hems Holzer began making stone benches in the mids.
Just as they function in city parks or cemeteries, the benches are both communal and commemorative, offering a place for contemplation or group discussion. In addition to inviting us to look and contemplate, they are functional and meant to be used. Holzer works with many kinds of stone and she carefully selects material that complements the engraved texts.
The texts also were cast as aluminium plaques. Each cautionary sentence instructs, informs, or questions the ways an individual responds to the political, social, physical, psychological and personal environments. She wrote the series at the height of the devastating AIDS epidemic in the late s, when politicians were slow to respond to thousands of deaths caused by HIV-related illness.
The texts represent unnecessary deaths, including those caused by, in the artist's words, 'bad politics'. This drawing was made in the process of carving text on thirteen stone sarcophagi.
The ceiling-mounted sculpture FLOOR was initially conceived to be shown on the ground, as its title suggests.
Holzer often reworks her art to respond to its setting. She explores how the impact of her texts changes when presented in new materials and when seen from different vantage points.
Room Three My legacy from coming of age in the 60s is that I want to make art that's understandable, that has some relevance and importance to almost anyone inclined to look. Once I've made the stuff, the idea is to get it to people. I want people to encounter the work in different ways, to find it on the street, to spot it on signs and on tractor hats.
I like using many presentation modes, and motion. In electronic signs, I might turn writing purple and fly it upside down. Holzer asked Ilona Granet, an artist specialising in sign painting, to hand letter the statements. In the Living series, Holzer presents a set of quiet observations, directions and warnings.
The text appears on cast bronze plaques, of the sort often installed on historical buildings, to lend the writing authority. In contrast to fast-moving LED signs and posters that can be torn down, bronze makes passing thoughts permanent.
Room Four Exhibition view: Holzer became interested in more sculptural LED presentations and so propped the electronic displays against the wall. A great feature of the electronic signs is their capacity to move content.
I love that because motion is much like the spoken word: I write my text by saying the words out loud, or I write and then say words, to test them. · “Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text).” Museum of Modern Art.
Jenny Holzer ashio-midori.com(Jenny_Holzer). · Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text. Jenny Holzer (American, born in )ashio-midori.com · FOR THE CITY continues a series of projections Holzer presented with Creative Time last fall.
Planned to coincide with the Presidential election, FOR NEW YORK CITY illuminated The Cathedral Church of Saint John the Divine, Bethesda Fountain in Central Park, Greenwich Street, Hotel Pennsylvania, and The Cooper Union with the powerful words of Wislawa Szymborska, Yehuda ashio-midori.com · JENNY HOLZER: It was, and the ISP was a refuge from graduate school, where I was on thin ice for being a bad painter.
[ laughs ] Being in the program made ashio-midori.com · Jenny Holzer (born July 29, , Gallipolis, Ohio) is an American neo-conceptual artist, based in Hoosick Falls, New York. The main focus of her work is the delivery of words and ideas in public spaces.
Holzer belongs to the feminist branch of a generation of artists that emerged around ashio-midori.com · Did you ever move a flat? Then you have already admired how ashio-midori.com