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Another baffleing inside outside style reflection. Through the window at the Last Gallery, Carmarthenshire, during the installation with performance ,`Druid`s Cord , Saint Asaphs Loop`.
Installation shots, working on the set-up for "Words Are Not Enough" MA Thesis exhibition at the University of Wisconsin- Milwaukee. (November/December 2008) Inova/Arts Center Gallery- UWM.
June 25, 2023 - I just found out that Jenny Holzer who created this installation is from Gallipolis, Ohio. I did a dining room renovation project at Holzer Medical Center which is located in Gallapolis, Ohio. Small world!
Installation for Bilbao
1997/2017
Electronic LED sign
Site-specific dimensions
Jenny Holzer began her first series, Truisms, in 1977 as a distillation of an erudite reading list from the Whitney Independent Study Program in New York, where she was a student; by 1979 she had written several hundred of these one-liners. Beginning with A LITTLE KNOWLEDGE GOES A LONG WAY and ending with YOUR OLDEST FEARS ARE YOUR WORST ONES, the Truisms employ a variety of voices and express a wide spectrum of biases and beliefs. If any consistent viewpoint emerges in the edgy, stream-of-consciousness provocations, it is that truth is relative and that each viewer must participate in determining what is legitimate and what is not. Since the Truisms, Holzer has continued to use language as her primary medium and has employed myriad ways to convey her messages. Selections from her Inflammatory Essays series (1979–82), for example, appeared on unsigned, commercially printed posters pasted on buildings and walls around Manhattan.
When phrases by Holzer such as ABUSE OF POWER COMES AS NO SURPRISE and MONEY CREATES TASTE flashed from the Spectacolor board above Times Square in 1982, it marked her first appropriation of electronic signage. This mode of dissemination brought her disquieting messages to a new height of subversive social engagement. Her strategy—placing surprising texts where normal signage is expected—gives Holzer direct access to a large public that might not give "art" any consideration, while allowing her to undermine forms of power and control that often go unnoticed. Her installations over the last three decades have raised questions about the viability of public art, the commodification and consumption of art, and the relationship between the personal and the political. Description from the museum website: www.guggenheim-bilbao.eus/en/the-collection/works/install...
On Thursday, Nov. 17, 2011, Lt. Gen. Michael Ferriter assumed command of the Installation Management Command from Lt. Gen. Rick Lynch at Fort Sam Houston. Hosting the event was Chief of Staff of the Army Gen. Raymond Odierno. (Photo by Evan Dyson, IMCOM Public Affairs)
June 25, 2023 - I just found out that Jenny Holzer who created this installation is from Gallipolis, Ohio. I did a dining room renovation project at Holzer Medical Center which is located in Gallapolis, Ohio. Small world!
Installation for Bilbao
1997/2017
Electronic LED sign
Site-specific dimensions
Jenny Holzer began her first series, Truisms, in 1977 as a distillation of an erudite reading list from the Whitney Independent Study Program in New York, where she was a student; by 1979 she had written several hundred of these one-liners. Beginning with A LITTLE KNOWLEDGE GOES A LONG WAY and ending with YOUR OLDEST FEARS ARE YOUR WORST ONES, the Truisms employ a variety of voices and express a wide spectrum of biases and beliefs. If any consistent viewpoint emerges in the edgy, stream-of-consciousness provocations, it is that truth is relative and that each viewer must participate in determining what is legitimate and what is not. Since the Truisms, Holzer has continued to use language as her primary medium and has employed myriad ways to convey her messages. Selections from her Inflammatory Essays series (1979–82), for example, appeared on unsigned, commercially printed posters pasted on buildings and walls around Manhattan.
When phrases by Holzer such as ABUSE OF POWER COMES AS NO SURPRISE and MONEY CREATES TASTE flashed from the Spectacolor board above Times Square in 1982, it marked her first appropriation of electronic signage. This mode of dissemination brought her disquieting messages to a new height of subversive social engagement. Her strategy—placing surprising texts where normal signage is expected—gives Holzer direct access to a large public that might not give "art" any consideration, while allowing her to undermine forms of power and control that often go unnoticed. Her installations over the last three decades have raised questions about the viability of public art, the commodification and consumption of art, and the relationship between the personal and the political. Description from the museum website: www.guggenheim-bilbao.eus/en/the-collection/works/install...
An installation of original bush & ink paintings on gilded rice paper. The paintings were shown and installed on a path in a garden in Kyoto. Surprising the curious Japanese viewer as they hiked. through the show. - Aimée Margolis ©2010
"Selections from the Private Collection of Mr. and Mrs. Jon Lutz," at WILDLIFE, Brooklyn, New York, February 25, 2011
Installation view from "Vessel" a group exhibition curated by Dasha Matsuura at Hashimoto Contemporary