Jenny Holzer Artistic License Audio Transcript

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Jenny Holzer Artistic License Audio Transcript

Transcript Jenny Holzer Jenny Holzer: I’m Jenny Holzer. When I was invited to do something for Artistic License, I tried to build on my excitement at the prospect of going into storage. It’s one of my favorite things to do in museums. The great pleasure of going into storage was that it was to be about looking. Looking comes more naturally to me than thinking or talking. [Laughs.] So it was a joy to be able to go peer and have an immediate response from the eyes. Narrator: For her presentation, Good Artists, artist-curator Jenny Holzer chose works made exclusively by female artists. In her own practice, Holzer has long used language to challenge the power structures that exclude and marginalize women. While exploring the Guggenheim’s collection, she sought out seldom-seen pieces by both well-known and underappreciated artists. Jenny Holzer: I was curious to see what the museum had of women’s work. So I thought, “Let’s see both ones with whom I was familiar and that I’ve loved for decades, and also ones I didn’t know.” I would like to show a glorious multitude of good work. I think we found surprises as well as reassuring masterpieces. Narrator: Holzer selected works by Louise Nevelson—including her monumental wooden wall sculpture Luminous Zag: Night—in part because the artist inspired Holzer as a child. Jenny Holzer: When I was a kid I saw pictures of Nevelson, and that gave me some faint hope that there could be an interesting life. So [laughs] then there’s the marvelous Louise Bourgeois I’ve studied for these many years, and I wanted to offer her up once again to people who come to the show. Narrator: Holzer also chose a group of photographs by Sarah Charlesworth, Nan Goldin, Barbara Kruger, and Adrian Piper. Through their work, these artists have confronted gender difference and power structures represented and perpetuated in visual culture. Jenny Holzer: I like having so many women who used photography in one way or another. That’s modern. [Laughs.] The title, Good Artists came because it was matter-of-fact and true. It’s a good challenge, to try to honor these artists by showing them as they should be. .

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Women in the City Micol Hebron Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art 1-2008 Women in the City Micol Hebron Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Part of the Art and Design Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Hebron, Micol. “Women in the City”.Flash Art, 41, pp 90, January-February, 2008. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Women in the City Comments This article was originally published in Flash Art International, volume 41, in January-February 2008. Copyright Flash Art International This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/45 group shows Women in the City S t\:'-: F RA:'-.CISCO in over 50 locations in the Los ments on um screens throughout Museum (which the Guerrilla Angeles region. Nobody walks in the city, presenting images of Girls have been quick to critique LA, but "Women in the City" desirable lu xury items and phrases for its disproportionate holdings of encourages the ear-flaneurs of Los that critique the politics of work by male artists). The four Angeles to put down their cell commodity culture. L{)uisc artists in "Women in the City," phones and lattcs and look for the Lawler's A movie will be shown renowned for their ground billboards, posters, LED screens without the pictures (1979) was re breaking exploration of gender and movie marquis that host the screened in it's original location stereotypes, the power of works in this eJ~;hibition.
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(Inaudible) Set up for Jenny Holzer. Can You Hear Me?
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Jenny Holzer.Pdf
rAi*<« MONEY H : *: l i * TASTE SPARKING JENNY HOLZER OLZ Diane Waldman Chiat This exhibition is supported in part by generous funds from Jay and the National Endowment for the Arts Additional assistance has been provided by The Owen Cheatham Foundation, The Merrill G and the Arts Emita E. Hastings Foundation, the New York State Council on and anonymous donors SOLO/WON R. GUGGENHEIM AAUSEUAA, NEW YORK HARRY N. ABRAAAS, INC., PUBLISHERS, NEW YORK Published by The Solomon R Guggenheim Foundation, Jenny Holzer Solomon R Guggenheim Museum, New York New York, in association with Harry N Abrams, Incorporated. December 12, 1989-February 11, 1990 New York, a Times Mirror Company. Project organization and production Copyright g 1989 by The Solomon R. Guggenheim Curator Foundation. New York Diane Waldman Coordination and Research Library of Congress Cataloging-in-Publication Data Clare Bell Waldman, Diane Editorial Jenny Holzer Carol Fuerstem Diana Murphy Catalog of an exhibition Includes bibliographical references Design 1 Holzer, Jenny, 1950- -Exhibitions Malcolm Grear Designers I Solomon R. Guggenheim Museum II. Title Special Photography N6537H577A4 1989 709'. 2 89-25747 David Heald ISBN 0-89207-068-4 Project Financial Management Heidi Olson cover Installation Sunrise Systems, Inc. Selections from Truisms 1986 Myro Riznyck Dectronic Starburst double-sided electronic display signboard, Scott Wixon 20 x 40' Timothy Ross Installation, Caesar's Palace, Las Vegas Guggenheim Operations and Maintenance Staff Lara Rubin, assistant to Jenny Holzer Organized
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