Jenny Holzer

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Jenny Holzer- 150, Ohio USA


Holzer is best known for her arresting and contradictory texts and skillfull manipulation of mass media channels. It ranges from text- laden, light-emitting diode (LED) signs to street posters, plaques and even brief television spots. Holzer has demonstrated significant skill in conceiving and implementing site-specific installations. Her work became recognised in the late 170’s and early 80’s during a time when the feminist movement was attracting most of its attention. Throughout New York Holzer was plastering posters of her ‘Truisms’ throughout the streets. They were arranged in alphabetical order. It was a contradictory list of clich�s yet was written by Holzer herself. By presenting a range of juxtaposing information it gave her work a dramatic, depersonalised feel to it. Holzer’s work ranges from inflammatory manifesto to feminist or parental concern to bleak resignation.


Holzer transformed the ‘Solomon R. Guggenheim Museum’ in New York into a moving spiral of electronic information. The exhibition consisted of (LEDS) on benches with inscribed marble floors. The text in this work has proved to challenge architecture, sculpture and society. For ‘The Stuart Collection’, Holzer created an array of work for a school/college. The work called ‘The Green Table’ is a large table and benches situated in the quad of the school. It is a meeting place for students to meet, eat and study. The table and benches are inscribed with texts on their top and sides. The writings have comical and politically charged criticism and have the ability to change this once ordinary gathering place into a site of questionable debate. Not only are these narratives and texts imprinted on the schools furniture but it is inserted into the central library computer, television ads, a series of cast aluminium plaques and poster installations throughout the campus.


In 177 Holzer was awarded an M.F.A. in painting by Rhode Island School of Design. It was during her graduate study at the Whitney Museum of American Arts Independent Study Program that she started experimentation in public art and words first entered her work. The first posters titled Truisms (177-17) surfaced throughout Manhattan. Her primary medium, language, structured her subsequent works.


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Her work reached an even larger audience when she employed the large Spectacolor Board to convey her newly created Survival Series (18-185) text to New Yorkers frequenting the Times Square area in New York City. Ultimately she used electronic signboards and L.E.D. (light-emitting-diode) signs to reach the general public and museum audiences alike. In conjunction with the signs, she employed stone benches and sarcophagi etched with works titled Under a Rock (186) and Laments (18).


Her more recent work, War texts (1), Lustmord (1-14) and Erlauf Peace texts (15), focuses on the atrocities of war. The War text, first shown in installation at the Kunsthalle in Basel, Switzerland, speaks of wartime disaster. Lustmord is written from three different perspectives (the Observer, the Perpetrator and the Victim) regarding the rape of women in wartime. The Lustmord photographs, images of the text written on human skin, originally were presented in the magazine of the Suddeutsche Zeitung, reaching five hundred thousand readers. The ink used on the cover of this magazine contained womens blood.


In addition to her permanent installations, Holzers latest projects explore the capacities of modern technology and its ability to reach a growing audience. Her Web site, Please Change Beliefs, makes her original Truisms texts available for altering.





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