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Jenny HolzerJenny Holzer -USE WHAT IS DOMINANT IN A CULTURE TO CHANGE IT: Signed glass bowl2003
2003
$8,500
£6,479.52
€7,402.35
CA$11,960.70
A$13,100.67
CHF 6,897.51
MX$156,352.18
NOK 87,902.53
SEK 80,356.16
DKK 55,315.47
About the Item
Jenny Holzer
USE WHAT IS DOMINANT IN A CULTURE TO CHANGE IT, 2003
Hand Blown Glass Bowl
4 × 10 × 10 inches
Edition 68/200
Signed and numbered 68/200 on the underside with Holzer's incised signature: also bears the manufacturers signature
Published by the Whitney Museum of American Art Produced by Simon Pearce for Whitney Originals
This marvelous hand blown glass bowl features a distinctive Holzer message:
USE WHAT IS DOMINANT IN A CULTURE TO CHANGE IT.
This Holzer work was originally sold by the Whitney Museum back in 2003 and has long sold out.
It is signed and numbered on the underside with the artist's incised signature
Nearly two decades later, in the post-Trump era, what does the message mean today?
JENNY HOLZER BIOGRAPHY
b. 1950, Gallipolis, Ohio
Jenny Holzer was born in 1950 in Gallipolis, Ohio. She received a BFA in printmaking and painting from Ohio University, Athens, Ohio, in 1972, and an MFA in painting from the Rhode Island School of Design, Providence, in 1977. Holzer then moved to New York and enrolled in the Independent Study Program at the Whitney Museum of American Art. That same year, she created her first text-based works, initiating an ongoing artistic investigation of language in which she presents both original and appropriated texts to deconstruct how personal and political meaning are created in Western culture’s patriarchal, consumer-oriented society.
For Truisms, her series comprising terse one-liners written between 1977 and ’79, and Inflammatory Essays, which were composed between 1979 and ’82, Holzer anonymously pasted posters of unswerving, declarative statements around New York City. Since then her text-based work has evolved in numerous mediums. In the 1980s Holzer used electronic signs to present her work in such prominent public spaces as Times Square in New York and Piccadilly Circus in London, as well as in sport stadiums. She began producing engraved marble and granite benches, initially bearing text from Under the Rock (1986), and stone sarcophagi inscribed with Laments (1988–89), a moving reflection on the devastating repercussions of the AIDS crisis. For her 1989–90 retrospective at the Solomon R. Guggenheim Museum in New York, Holzer created a site-specific LED sign that wound its way around the parapet of the Frank Lloyd Wright–designed rotunda, displaying aphorisms and declarations from all of her work to date. She represented the Unites States at the Venice Biennale in 1990 and was awarded the Golden Lion for her Venice Installation, where she presented a series of her writings—including Mother and Child (1990), an account of motherhood—incised on a marble floor and emanating from LED signs.
Holzer has produced public memorials as well as outdoor nighttime projections, such as Arno (1996), presented on the surface of the Arno River in Florence. Her texts have also been projected on Rio de Janeiro’s cityscapes and oceans (Xenon for Rio de Janeiro, 1999), on beach shores and mountainsides (For San Diego, 2007), and on building facades across the world. Most recently, Holzer has returned to her earlier practice of using declassified American government documents as a subject for her art. Silkscreened on oil-painted backgrounds, these new works denounce acts of brutality and military practices conducted during the Iraq war.
Holzer has had solo exhibitions at the Kunsthalle Basel (1984); Brooklyn Museum, New York (1988); Dia Art Foundation, New York, and Solomon R. Guggenheim Museum (both 1989–90); Haus der Kunst, Munich (1993); Art Tower Mito, Japan (1994); Contemporary Arts Museum Houston (1997); Neue Nationalgalerie, Berlin (2001, 2011); Kunsthaus Bregenz, Austria (2004); MAK, Vienna (2006); Museum of Contemporary Art Chicago (2008–09; travelled to the Whitney Museum of American Art [2009], and Fondation Beyeler, Riehen, Switzerland [2009–10]); Tate Modern, London (2018–19); and the Guggenheim Museum Bilbao (2019), among other institutions. Select group exhibitions include Eating Friends, Artists Space, New York (1981); Around 1984: A Look at Art in the Eighties, MoMA PS1 (2000); and Surprise, Surprise, Institute of Contemporary Arts, London (2006). Her works have appeared in Documenta (1982, 1987); Whitney Biennial (1983, 1985); Carnegie International (1985); Sculpture Project, Münster (1987); Venice Biennale (1990, 2005, 2007, 2015); Florence Biennial (1996); Singapore Biennial (2006); and Gwangju Biennial (2012). She has been the recipient of several important awards, and in 2016 she was made an Officier of the Order of Arts and Letters by the French government. Holzer is one of the six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum (2019–20). She lives and works in New York.
-Courtesy Guggenheim Museum
- Creator:Jenny Holzer (1950, American)
- Creation Year:2003
- Dimensions:Height: 4 in (10.16 cm)Diameter: 10 in (25.4 cm)
- Medium:
- Movement Style:
- Period:
- Condition:Very good condition with no apparent issues; box not included.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745217384742
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.
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