Feb. 13, 2012 at 8:39pm with 452 notes
Reblogged from echo-base
cavetocanvas: Jenny Holzer, Untitled, 1989 From the Guggenheim: In Holzer’s 1989 retrospective installation at the Guggenheim Museum, blinking messages from her various series, programmed to an insistent but silent beat, raced the length of an L.E.D. display board installed along the winding inner wall of Frank Lloyd Wright’s spiral ramp. The museum’s rotunda was transformed into a dazzling electronic arcade. In bringing her art from the street to the museum, Holzer focused on an audience that differed markedly from the unsuspecting passerby. The Guggenheim visitors who stood beneath the revolving ribbons of red, green, and yellow texts were more likely to be aware that this installation brought up such issues as the viability of public art, the commodification and consumption of art, and the conflation of the personal and the political—in short, some of the pressing issues of American art in the 1980s.

cavetocanvas:

Jenny Holzer, Untitled, 1989

From the Guggenheim:

In Holzer’s 1989 retrospective installation at the Guggenheim Museum, blinking messages from her various series, programmed to an insistent but silent beat, raced the length of an L.E.D. display board installed along the winding inner wall of Frank Lloyd Wright’s spiral ramp. The museum’s rotunda was transformed into a dazzling electronic arcade. In bringing her art from the street to the museum, Holzer focused on an audience that differed markedly from the unsuspecting passerby. The Guggenheim visitors who stood beneath the revolving ribbons of red, green, and yellow texts were more likely to be aware that this installation brought up such issues as the viability of public art, the commodification and consumption of art, and the conflation of the personal and the political—in short, some of the pressing issues of American art in the 1980s.

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    retrospective installation at the Guggenheim Museum, blinking messages from her various series, programmed to an...
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