10 Inflammatory Essays
View Similar Items
Jenny Holzer10 Inflammatory Essays2018
2018
About the Item
- Creator:Jenny Holzer (1950, American)
- Creation Year:2018
- Dimensions:Height: 9.85 in (25 cm)Width: 9.85 in (25 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Oslo, NO
- Reference Number:1stDibs: LU2318211651402
Jenny Holzer
Known for taking art out of the traditional “white cube” of galleries and museums and onto the streets, Jenny Holzer is one of the most potent feminist Neo-Conceptual artists of the 20th century. Her most iconic work critiques the information age and consumerism by reclaiming its primary media — conventional print billboards, storefront posters and LED signs.
“I used language because I wanted to offer content that people — not necessarily art people — could understand,” the Ohio-born Holzer told Interview magazine. She received her MFA in painting from Rhode Island School of Design, where her work was influenced by Abstract Expressionism. It was while in the Independent Study Program at the Whitney Museum of American Art that Holzer became inspired to work at the intersection of public art and language.
In the late 1970s, after becoming an active participant in the downtown Manhattan artist collective Colab, which included Tom Otterness and Christy Rupp, Holzer began to create her legendary “Truisms” series. Printing anonymous one-line aphorisms in bold and italicized text on broadsheets, she pasted them up in public spaces all over New York City. The “Truisms” are provocative in questioning how we receive and process information. The work elicits debate and represents a range of perspectives. In an era that saw the rise of street art and graffiti, Holzer’s pithy word art would also find viewers by way of T-shirts, stickers and park benches, into which her slogans were carved.
Holzer’s more combative “Inflammatory Essays” (1979–82) took the form of mass-produced posters on colored paper — each featuring paragraphs as compared to the punch-line structure of “Truisms.” These touched on subjects such as violence, misogyny, power structures and consumerism, all of which have continued to be central in her work.
Starting in 1982 as part of a Public Art Fund project, Holzer projected “Protect me from what I want” and other “Truisms” on the Spectacolor board, a large computerized light signboard in New York City’s Times Square. Her “Abuse of power comes as no surprise,” which has appeared on T-shirts as part of the series, has taken on new life in an increasingly politically divided America.
Just as it did in the 1970s, the forcefulness of her work continues to make both viewers and the art world stop and pay attention. She has had solo exhibitions at the Brooklyn Museum, the Solomon R. Guggenheim Museum, the Tate Modern in London and elsewhere. She has also created permanent installations including the New York City AIDS Memorial. A 2014 show at New York’s Cheim & Read featured oil-on-linen canvases based on declassified government files pertaining to detainees from the Iraq and Afghanistan wars.
Find Jenny Holzer prints and sculptures on 1stDibs.
- David Shrigley, Tornado Of Nonsense & It Was Worthwhile Doing ThisBy David ShrigleyLocated in Manchester, GBDavid Shrigley, Tornado Of Nonsense & It Was Worthwhile Doing This 60 x 80 cm (31 1/2 × 23 3/5 in) Off-set lithography Printed on 200g Munken Lynx paper Narayana Press in DenmarkCategory
2010s Contemporary More Prints
MaterialsLithograph
- Letter L - Lithograph by Rafael Alberti - 1972By Rafael AlbertiLocated in Roma, ITLetter L from the Alphabet series is a lithograph realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin. Numbered on the lower margin. from an Edition...Category
1970s Contemporary Abstract Prints
MaterialsLithograph
- Letter U - Lithograph by Rafael Alberti - 1972By Rafael AlbertiLocated in Roma, ITLetter U from the Alphabet series is a lithograph realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin. Numbered on the lower...Category
1970s Contemporary Abstract Prints
MaterialsLithograph
- Letter H - Lithograph by Rafael Alberti - 1972By Rafael AlbertiLocated in Roma, ITLetter H from the Alphabet series is a lithograph realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin. Numbered on the lower margin. from an Edition...Category
1970s Contemporary Abstract Prints
MaterialsLithograph
- Letter H - Lithograph by Rafael Alberti - 1972By Rafael AlbertiLocated in Roma, ITLetter H from the Alphabet series is a lithograph realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin. Numbered on the lower margin. from an Edition...Category
1970s Contemporary Abstract Prints
MaterialsLithograph
- The Actress - Lithograph by Mario Russo - 1988By Mario RussoLocated in Roma, ITImage dimensions: 61x40 cm. L'attrice (The actress) is an original colored lithograph on paper realized in 1988 by the Italian artist Mario Russo (1925-2000) A beautiful original print representing a sophisticated woman in a natural but at the same time theatrical pose, is hand-signed in pencil by the artist on the lower right margin. Realized with a fresh line and a sure touch and transmitting a fascination towards the female beauty, this lithograph is numbered in pencil on lower left margin, a fine specimen from an edition of 150 prints. In excellent condition, except for a light foxing along the margins, this is a really fine contemporary artwork able to adapt to each kind of furniture and give your house a touch of fineness! Mario Russo (1925 - 2000) The Neapolitan artist moved to Rome, Trastevere, in 1950: in these years began to exihibit in Italy and abroad. In 1953 he stays in Paris, in 1960 in London with his own exhibition. Another exhibition in Monaco of Bavaria in 1965: three years later, in 1968, held two exhibitions in New York and accepted the invitation to exhibit his works at the Royalton College in 1970 Vermont. In 1970 he is enchanted from Sardinia and then decide to live there four months every year. His master is conquered by the sense of beauty, which is synonymous of female body pervaded sensuality. In 1977, during a stay in Canada, obtains new ideas on the man-machine relationship, always inherent in his paintings. In 1979 he was invited by the Italian Institute of Culture of Toronto to exhibit his works at Sudbury University. In 1981 in Florence, he is impressed by the Riace...Category
1980s Contemporary Figurative Prints
MaterialsLithograph