Exhibition view: Jenny Holzer, Light Line, Solomon R. Guggenheim Museum, New York (17 May–29 September 2024). © Jenny Holzer, Artists Rights Society (ARS), New York, and Solomon R. Guggenheim Foundation, New York. Photo: Filip Wolak.
Exhibition view: Jenny Holzer, Light Line, Solomon R. Guggenheim Museum, New York (17 May–29 September 2024). © Jenny Holzer, Artists Rights Society (ARS), New York, and Solomon R. Guggenheim Foundation, New York. Photo: Ariel Ione Williams.
Jenny Holzer, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text) (1989). Extended helical tricolor L.E.D. electronic-display signboard. Site-specific dimensions. © Jenny Holzer. Courtesy Solomon R. Guggenheim Museum, New York. Photo: David Heald.
Jenny Holzer installing Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text) (1989). Solomon R. Guggenheim Museum, New York. © Solomon R. Guggenheim Foundation, New York. Photo: Michele Perel.
Exhibition view: Jenny Holzer, Light Line, Solomon R. Guggenheim Museum, New York (17 May–29 September 2024). © Jenny Holzer, Artists Rights Society (ARS), New York, and Solomon R. Guggenheim Foundation, New York. Photo: Filip Wolak.
Exhibition view: Jenny Holzer, Light Line, Solomon R. Guggenheim Museum, New York (17 May–29 September 2024). © Jenny Holzer, Artists Rights Society (ARS), New York, and Solomon R. Guggenheim Foundation, New York. Photo: Ariel Ione Williams.
In 1989, Jenny Holzer graffitied the Solomon R. Guggenheim Museum‘s six-story spiral interior with LED signs displaying provocative texts. Today, the New York museum presents a recreation of the iconic installation, which features scrolling words and statements from Holzer’s ‘Truisms’ (1978–1987) and ‘Inflammatory Essays’ (1979–1982) series.
Titled Light Line (17 May–29 September 2024), the exhibition sees Holzer resurrecting old phrases while introducing new ones, including some generated by artificial intelligence. Teasingly, Holzer doesn’t let us know which ones are hers.
AI or not, the phrases provoke thoughts on themes spanning feminism, violence, oppression, and vulnerability.
Accompanying the main installation are a selection of the artist’s paintings, works on paper, and stone pieces from the 1970s to present.
Also, from 16 to 20 May, Holzer’s light projection For the Guggenheim (2008–ongoing) will illuminate the museum’s façade at sundown.
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