"For us, the idea of having a work that has contradictions is very important—when, in affirming something, it includes itself and attacks itself. How can you put together all of these things that have nothing to do with each other? You use glue! Glue can be an idea, a word. You can use an ideological glue."
"Installation for Neue Nationalgalerie" (2001)
"Installation for Neue Nationalgalerie," 2001
Electronic LED sign. Installation view: Neue Nationalgalerie, Berlin.
Text: Selections from “Truisms” (1977-79), “Inflammatory Essays” (1979-82), “Living” (1980-82), “Survival" (1983-85), “Under a Rock” (1986), “Laments” (1989), “Mother and Child” (1990), “War” (1992), “Lustmord” (1993-95), “Erlauf” (1995), “Arno” (1996), “Blue” (1998), and “Oh” (2001); Photo: Attilio Maranzano; © 2007 Jenny Holzer, member Artist Rights Society (ARS), New York.
Electronic LED sign. Installation view: Neue Nationalgalerie, Berlin.
Text: Selections from “Truisms” (1977-79), “Inflammatory Essays” (1979-82), “Living” (1980-82), “Survival" (1983-85), “Under a Rock” (1986), “Laments” (1989), “Mother and Child” (1990), “War” (1992), “Lustmord” (1993-95), “Erlauf” (1995), “Arno” (1996), “Blue” (1998), and “Oh” (2001); Photo: Attilio Maranzano; © 2007 Jenny Holzer, member Artist Rights Society (ARS), New York.
"Time is an especially important consideration with the public works because I know that people going by won’t have much of it. But when I’m working indoors I want to offer a lot, so that if people are willing to lie down on the floor, they will be rewarded."
- Jenny Holzer
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