Colab is the commonly used abbreviation of the New York City artists' group Collaborative Projects , which was formed after a series of open meetings between artists of various disciplines.
65-562: The Times Square Show was an influential collaborative, self-curated, and self-generated art exhibition held by New York artists' group Colab (aka Collaborative Projects, Inc) in Times Square in a shuttered massage parlor at 201 W. 41st and 7th Avenue during the entire month of June in 1980. The Times Square Show was largely inspired by the more radical Colab show The Real Estate Show (that occurred in January 1980), but unlike it,
130-634: A Fluxus -inspired Gift Shop area, that would come to be called The A. More Store , that sold low-priced multiples made by the participating Colab artists. Included were Bobby G's Money Talks pins, Becky Howland's Love Canal Potatoes , Kiki Smith ’s Bloody-Hand Ashtrays , Joseph Nechvatal 's Nuclear War Table Placemats , Charlie Ahearn ’s Three Card Monte Times Square Advertisement poster, Robin Winters’s Plaster Colab Portraits and Jenny Holzer’s Manifesto posters. The A. More Store also appeared shortly after on Broome Street with
195-429: A 2021 interview with Literary Hub , Holzer said that she "[has] a repressed spirituality", and stated, "I am not religious in any conventional sense, but I am all for applying appropriate feeling that might make for sanity and better behavior." When asked if she considers herself to be a political artist, Holzer stated: I'm an artist, and a person who is political; I make some separation here. I do not represent that art
260-516: A PhD candidate in twentieth-century American art at the University of Delaware, that ran from September 14th to December 8th in 2012. The Times Square Show Revisited exhibition was accompanied by a catalogue and comprehensive website, which includes extensive interviews with the participants in the original exhibition. Elena Martinique writes in WideWalls magazine that The Times Square Show
325-401: A building on New York's Lower East Side and opened it as a collectively run cultural center. ABC No Rio was passed on to successive managements until today it is an anarchist cultural center run by a collective with close ties to the publishing group Autonomedia ." In 2016 A Book About Colab (and Related Activities) was published by Printed Matter, Inc . It was edited by Max Schumann,
390-628: A catalyst for exploring new political-artistic directions. The Times Square Show' s historic significance was established in The Times Square Show Revisited exhibition held at The Hunter College Art Galleries that was curated by Shawna Cooper, post-war art historian and graduate of the Hunter College Master’s Program in Art History, in association with Karli Wurzelbacher, also a Hunter alumnae and
455-522: A distillation of an erudite reading list from the Whitney Independent Study Program, where she was a student. She printed other Truisms on posters, T-shirts and stickers, and carved them into stone benches. In late 1980, Holzer's mail art and street leaflets were included in the exhibition Social Strategies by Women Artists at London's Institute of Contemporary Arts , curated by Lucy Lippard . In 1981, Holzer initiated
520-479: A large open exhibition near the center of New York's entertainment (and pornography) district ( Times Square ) that was put on with Bronx-based Fashion Moda . Seed money from the first Colab (Green Corp.) workshop grant through Center for New Art Inc. led to the creation of the Colab artists' TV series on Manhattan Cable (1978–1984) that included All Color News , Potato Wolf and Red Curtain , and New Cinema -
585-530: A monumental installation drawing in the basement, Coleen Fitzgibbon and Robin Winters showed their collaboration Gun, Money, Plate wallpaper, Cara Perlman showed her large portrait paintings on paper, Jenny Holzer showed hand painted enamel on metal signs, like Living: Many Dogs Run Wild in the City , Keith Haring and Kenny Scharf showed their collaboration video The Sparkle End and David Hammons showed
650-492: A restating of The A. More Store , a Colab-sponsored artists’ outlet for low-priced multiples from the early 1980s The selling exhibition included over 100 artworks from over 50 participating Colab members, including works on loan from historic A. More Stores . The first A. More Store evolved from the Gift Shop at the legendary Colab-organized The Times Square Show and appeared shortly after on Broome Street in 1980 with
715-514: A screening room on 8th Street and St. Mark's Place for new wave Super 8 films transferred to video and projected on an Advent screen - the continued publication of X Motion Picture Magazine (1979) (a No Wave band benefit concert for X Motion Picture Magazine included The Contortions , Boris Policeband , Theoretical Girls , DNA , Terminal and Erasers ); support and inspiration for the ABC No Rio cultural center (1980-82 - ongoing) that
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#1732780830419780-610: A series of mixed media silk-screen prints; each of the 15 same-size, medium-large canvases, stained purple or brown, bears an all-black, silk-screened reproduction of a PowerPoint diagram used in 2002 to brief President Bush , Donald Rumsfeld and others on the United States Central Command's plan for invading Iraq . Holzer found these documents at the Web site of the independent, nongovernmental National Security Archive (nsarchive.org), which obtained them through
845-573: A spray of broken Night Train fortified wine bottles. John Ahearn and Rigoberto Torres did live plaster casting sculptures of people off the street and occasionally made castings on the sidewalk, Jack Smith performed in a haze of hemp smoke in his Exotic Landlordism of the World one-man performance, Diane Torr (with filmmaker Ruth Peyser) did an art performance with a rubber inflatable porno doll and sex toys , and Sophie VDT and Mary Lemley organized fashion shows. Also, The Times Square Show had
910-771: A total environment where viewers were confronted with the relentless visual buzz of a horizontal LED sign and stone benches leading up to an electronic altar. Continuing this practice, her installation at the Guggenheim Museum in 1989 featured a 163-meter-long sign forming a continuous circle spiraling up a parapet wall. In 1989, Jenny Holzer released the Laments series to the Dia Art Foundation in New York; this installation consisted of columns of colored lights and carved marble and granite tops that made up
975-455: Is an American neo-conceptual artist, based in Hoosick , New York . The main focus of her work is the delivery of words and ideas in public spaces and includes large-scale installations, advertising billboards , projections on buildings and other structures , and illuminated electronic displays. Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, and
1040-1086: Is because she wants to "show some sense of urgency and to speak a bit loudly". Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. She was an active member of Colab during this time, participating in the famous The Times Square Show . Other female contemporaries include Barbara Kruger , Cindy Sherman , Sarah Charlesworth , and Louise Lawler . The subject of Holzer's work often relates to feminism and sexism. Her work discusses heavy subjects such as sexual assault against women. She has said that she gravitates towards subjects such as this due to family dysfunction she has experienced and because she claims "we don't need work on joy." Holzer's initial public works, Truisms (1977–79), are among her best-known. They first appeared as anonymous broadsheets that she printed in black italic script in capital letters on white paper and wheat-pasted to buildings, walls and fences in and around Manhattan. These one-liners are
1105-729: Is irreversible). Holzer is one of six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection , on view at the Solomon R. Guggenheim Museum from May 24, 2019 through January 12, 2020. Jenny Holzer: Light Line is on view at the Solomon R. Guggenheim Museum from May 17–September 29, 2024. In addition to winning the Golden Lion for her work at the 1990 Venice Biennale, Holzer has received several other prestigious awards, including
1170-1019: The Art Institute of Chicago 's Blair Award (1982); the Skowhegan Medal for Installation (1994); the Crystal Award from the World Economic Forum (1996); the Berlin Prize fellowship (2000); the Order of Arts and Letters diploma of Chevalier from the French government (2002) and the Barnard Medal of Distinction (2011). In 2010, Holzer received the Distinguished Women in the Arts Award from
1235-536: The Freedom of Information Act , and has used them as source material for her work since 2004. Other paintings depict confessions or letters from prisoners of all kinds and their families (parents pleading that the Army discharge rather than court-martial their sons); autopsy and interrogation reports; or exchanges concerning torture, as well as prisoners' handprints and maps of Baghdad. The censor's marks are unmodified and
1300-503: The Internet , T-shirts for Willi Smith , and a race car for BMW . Text-based light projections have been central to Holzer's practice since 1996. From 2010, her LED signs started becoming more sculptural. Holzer is no longer the author of her texts, and in the ensuing years, she returned to her roots by painting. Holzer only uses capital letters in her work and frequently words or phrases are italicized. She has stated before that this
1365-464: The Living series, printed on aluminum and bronze plaques, the presentation format used by medical and government buildings. The Living series addressed the necessities of daily life: eating, breathing, sleeping, and human relationships. Her bland, short instructions were accompanied by paintings by American artist Peter Nadin , whose portraits of men and women attached to metal posts further articulated
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#17327808304191430-606: The Museum of Contemporary Art, Los Angeles (MOCA). The annual award – recognizing women for their leadership and innovation in the visual arts, dance, music, and literature – is a bronze plaque originally designed by the artist in 1994, featuring one of her Truisms : "It is in your self-interest to find a way to be very tender." Holzer also holds honorary degrees from Williams College , the Rhode Island School of Design , The New School , and Smith College . In 2018 she
1495-546: The Public Art Fund program, the use of light-emitting diodes (LEDs) allowed Holzer to reach a larger audience. The texts in her subsequent Survival series, compiled in 1983-85, speak to the great pain, delight, and ridiculousness of living in contemporary society. She began working with stone in 1986; for her exhibition that year at the Barbara Gladstone Gallery in New York, Holzer introduced
1560-484: The Rhode Island School of Design , and entered its MFA program in 1975. She moved to Manhattan in 1976, joined the Whitney Museum 's independent study program and began her first work with language, installation and public art. She also was an active member of the artists group Colab . Holzer is known as a neo-conceptual artist. Most of her work is presented in public spaces and includes words and ideas, in
1625-541: The Stedelijk Museum , Den Bosch, The Nederlands, the National Gallery of Canada , Ottawa, and the Museum of Modern Art , New York. Holzer will participate in the 9th Gwangju Biennale (2012). According to the website for the 2015 ' Dismaland ' art installation led by Banksy , Holzer contributed works to the project. Holzer had several solo exhibitions in the past several years. In 2014 her work
1690-707: The Whitney Museum of American Art , New York (2009), and the Museum of Contemporary Art , Chicago (2008). Other solo shows include Institute of Contemporary Arts , London (1988); Dia Art Foundation , New York (1989); Guggenheim Museum , New York (1989); Walker Art Center , Minneapolis (1991); Hamburger Kunsthalle , Hamburg (2000); Neue Nationalgalerie , Berlin (2001, 2011); Barbican Art Gallery , London (2006); BALTIC Centre for Contemporary Art , Gateshead (2010), and DHC/ART Foundation for Contemporary Art (2010). She has also participated in Documenta 8 , Kassel (1987), as wells in group exhibitions in major institutions such as
1755-523: The '80s . This article and Colab's DIY self-promotion drew a wide variety of audiences curious see an art show in the sordid Times Square area. The Times Square Show was an open access art show open twenty-four hours a day for thirty days. Most of the artists who participated in The Times Square Show came from Colab , White Columns , Fashion Moda or The Harlem Workshop. There were films, videos, poetry, music, and art performances and
1820-664: The American Pavilion; she also designed posters, hats, and T-shirts to be sold in the streets of Venice. The installation, Mother and Child , won Holzer the Leone D'Oro for best pavilion. The original installation is retained in its entirety in the collection of the Albright-Knox Art Gallery in Buffalo, the organizing institution for the American Pavilion at the 1990 Biennale. After taking a break from
1885-542: The Arts (NEA) Workshop Grant through Center for New Art Activities, Inc., a small not-for-profit organization formed in 1974. In 1978, Collaborative Projects was incorporated as a not-for-profit of its own. By raising its own sources of funding, Colab was in control of its own exhibitions and cable TV shows. Advocating a form of cultural activism that was purely artist driven, the group created artworks, negotiated venues, curated shows, and engaged in discourse that responded to
1950-674: The Grammys wore white roses or all-white clothes to express solidarity with the Time's Up movement ; Lorde wrote, "My version of a white rose — THE APOCALYPSE WILL BLOSSOM — an excerpt from the greatest of all time, jenny holzer." The medium of modern computer systems became an important component in Holzer's work in 1982, when the artist installed her first large electronic sign on the Spectacolor board in New York's Times Square . Sponsored by
2015-467: The Lodge Gallery, and Cuchifritos Gallery/Essex Street Market. The Real Estate Show Revisited . That year Art International Radio also featured an interview and conversation between Jane Dickson , Coleen Fitzgibbon , and Becky Howland about Colab and the 1980 The Real Estate Show which birthed the ABC No Rio cultural center. From April 15 to May 15, 2016, Printed Matter, Inc presented
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2080-581: The Middle East. Using texts from a very different context, more recent projects have involved the use of redacted government documents and passages from declassified U.S. Army documents from the war in Iraq. For example, a large LED work presents excerpts from the minutes of interrogations of American soldiers accused of committing human rights violations and war crimes in Abu Ghraib prison — making what
2145-605: The art world, Holzer returned with controversy in 1993. Holzer came out with her Lustmord series, taking the title from the German word meaning "sex murder". Holzer created the series as a response of the Bosnian War, specifically the widespread rape and murder of women. The work feature three poems that retell sex crimes from the perspective of the victim, the observer, and the perpetrator. Lustmord has taken many different forms from texts written in blue, black, and red ink on
2210-514: The artist's public use of language and ideas often creates shocking juxtapositions — commenting on sexual identity and gender relations ("Sex Differences Are Here To Stay") on an unassuming New York movie theater marquee, for example — and sometimes extends to flights of formal outrage (such as "Abuse Of Power Comes As No Surprise" in lights over Times Square). At the Massachusetts Museum of Contemporary Art in 2007, Holzer presented
2275-410: The audience would sometimes get into fights over whether it was a good performance or a bad performance. Some Colab artists would stay overnight. Tom Otterness 's half-skeleton/half-man painted plaster sculpture Symbolic Anatomy (1980) was placed in the front window next to where Jean-Michel Basquiat wrote Free Sex over the doorway (later somebody else spray-painted over it). Justen Ladda created
2340-584: The darkness of humanity and the tragedies we face daily there is also hidden optimism in the 13 laments. In 1989, Holzer became the second female artist chosen to represent the United States at the Venice Biennale in Italy ( Diane Arbus was the first, shown posthumously in 1972). At the 44th Biennale in 1990, her LED signboards and marble benches occupied a solemn and austere exhibition space in
2405-449: The director of Printed Matter, and contained a Foreword and Afterword by art writer and Colab member Walter Robinson . The book traces the output of Collaborative Projects from the late 1970s through the mid 1980s and a testimonial about their particular practice of collaboration, collectivity, and social engagement, while reflecting an iconic period of NYC cultural history. In keeping with the democratic "by and for artists" ethos of Colab,
2470-489: The dress Lorde wore to the Grammys ; the excerpt read, "Rejoice! Our times are intolerable. Take courage, for the worst is a harbinger of the best. Only dire circumstance can precipitate the overthrow of oppressors. The old & corrupt must be laid to waste before the just can triumph. Contradiction will be heightened. The reckoning will be hastened by the staging of seed disturbances. The apocalypse will blossom." Others at
2535-401: The emptiness of both life and message in the information age. Inflammatory Essays was a work consisting of posters Holzer created from 1979 to 1982 and put up throughout New York. The statements on the posters were influenced by political figures including Emma Goldman , Vladimir Lenin , and Mao Tse-tung . In 2018 an excerpt from that work was printed on a card stitched onto the back of
2600-823: The exhibition Creature at The Broad in Los Angeles California from November 2016 to March 2017. In February 2017 she was also in the Palm Springs Popup exhibition at Ikon, Ltd., in Santa Monica alongside artists such as Richard Prince , Ellsworth Kelly , and Bruce Nauman . From January 2017 through February 2017 she was in the Fischl, Holzer, Prince, Salle, Sherman exhibition at the Skarstedt Gallery in Chelsea, New York. Also, in
2665-461: The first person "I" simply to give the impression that a dead person is speaking and therefore make the installation more interesting to her audience. In Laments Jenny gave a voice to 13 different dead individuals, to say everything they might not have gotten the opportunity to while alive. She touches on topics like motherhood, violation, pain, torture, and even death on a personal level to these 13 individuals . Although Laments focuses mostly on
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2730-490: The form of word art (also known as text art. ). The public dimension is integral to Holzer's work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium, although her diverse practice incorporates a wide array of media including street posters, painted signs, stone benches, paintings, photographs, sound, video, projections,
2795-498: The laments. Holzer uses the passages she had read while being a part of the Whitney Independent Study Program by simplifying them for public consumption and applying them to her phrases. This series not only provokes thought in her audience through the constant reminder of death and sorrow but also exposes them to sources they normally wouldn't come across. In an interview Holzer mentions that she uses
2860-585: The large sections of obscured text leave only sentence fragments or single words, echoes of the original content. Holzer concentrates on documents that have been partially or almost completely redacted with censor's marks. Based on a declassified report on US special forces' activity at a base in Gardez , Afghanistan, a 2014 series of paintings explores the story of Jamal Nasser , an 18-year-old Afghan soldier who died in US military custody. Holzer's first dance project
2925-478: The no wave scene in the 1970s and 1980s ). The New York art world first heard of The Times Square Show in the summer of 1980 through Colab's advertising on television and on the giant Spectacolor digital board in Times Square, made possible by Colab member Jane Dickson . Colab made three thirty-second TV spots that ran on Channel 5 . The eccentric performer Jack Smith was featured in one of these ads that
2990-569: The original Times Square Show (1980). Times Square Show Revisited was the first focused assessment of the landmark exhibition organized by the artist group Collaborative Projects, Inc. In 2013, an exhibition workshop entitled XFR STN (Transfer Station) was held at the New Museum . In early 2014, there were four concurrent art exhibitions in New York City around The Real Estate Show : at James Fuentes Gallery, ABC No Rio ,
3055-595: The past three decades. Also in 2015 she had a solo exhibition at the Barbara Kreakow Gallery in Boston, Massachusetts as well as War Paintings at Museo Correr in Venice, Italy. Then in the winter of 2016-17 at Alden Projects in New York, Holzer had the solo exhibition REJOICE! OUR TIMES ARE INTOLERABLE: Jenny Holzer's Street Posters, 1977-1982 , which showed her language-based posters that were pasted on
3120-468: The political themes and predicaments of their time, among them the recessions of the 1970s, the Reagan era of budget cuts and nuclear armament, the housing crisis and gentrification in New York City, and other pressing social issues. In order to become a member, an artist had to attend three consecutive meetings. Artists who proposed artistic projects for funding needed at least two Colab members involved in
3185-696: The project. From November 1978, different artist members organized and installed original one-off group shows in their own studios or other temporary sites, such as The Batman Show , (591 Broadway 1979), Income and Wealth Show (5 Bleecker Street Store 1979), Doctors and Dentists Show (591 Broadway 1979), The Manifesto Show (5 Bleecker Street Store 1979), The Dog Show (591 Broadway 1979), Just Another Asshole Show (5 Bleecker Street Store), The Real Estate Show (Delancey Street, Jan. 1980), Jay Street Film Shows (1979), Exhibit A (93 Grand Street, 1979), Island of Negative Utopia ( The Kitchen , 1984) and The Times Square Show (201 W 41st, June 1980):
3250-524: The publication places this material alongside newly solicited texts from many of the group’s members – a mix of reflections and anecdotes, statements, manifestos, and excerpts from the ‘Colab Annual Report’, which provide a close perspective on the meaning of Colab for those who came into its orbit. In 2011, Printed Matter, Inc. presented an exhibition entitled A Show about Colab (and Related Activities) . In 2012, The Hunter College Art Galleries presented Times Square Show Revisited , an in-depth look at
3315-420: The show, often interviewing spectators and Andrea Callard , Tom Warren, Francine Keery, Teri Slotkin and Lisa Kahane photographed the show and performance events. The No wave rock band The Raybeats performed live there. Participating artists included: Colab Colab members came together as a collective in 1977, first using the name Green Corporation, and initially received a National Endowment for
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#17327808304193380-756: The skin, to the Lustmord Table, a series of different bones of the body laid on a wooden table, with silver bands wrapped around them, engraved with the text of the three poems. While Holzer wrote the texts for the bulk of her work between 1977 and 2001, since 1993, she has mainly been using texts written by others, including literary texts from such authors as Polish Nobel laureate Wislawa Szymborska , Henri Cole (USA), Elfriede Jelinek (Austria), Fadhil Al Azzawi (Iraq), Yehuda Amichai (Israel), Mahmoud Darwish (Palestine), Khawla Dunia (Syria), and Mohja Kahf (Syrian American). As of 2010, Holzer's work has been focused on government documents, concerning Iraq and
3445-656: The streets of New York. Jenny Holzer and Christian Lemmerz : Lust was an exhibition on view from February 2017 to May 2017 at the Randers Kunstmuseum in Randers, Denmark. Holzer was also featured in the exhibition Woman Now at the Workhouse Arts Center in Lorton, Virginia, on view from January 2017 to April 2017; her work was shown alongside Andy Warhol and Joseph Beuys , among others, in
3510-656: The summer of 2016, Holzer was included in THE EIGHTIES: A Decade of Extremes exhibition at the Museum of Contemporary Art Antwerp in Belgium which explored the New York art scene in the eighties. In 2018, Holzer had the exhibition Artist Rooms: Jenny Holzer at Tate Modern in London. She has the entire second floor of Guggenheim Museum Bilbao (nine galleries) from March 22 to September 9, 2019 for "Zera deskribaezina" (It
3575-599: The tag-line You won’t pay more at the A. More Store . Following The Times Square Show , other iterations of The A. More Store were presented at Barbara Gladstone Gallery, Jack Tilton Gallery, White Columns , and Printed Matter, Inc . The Times Square Show also had a collectors’ night that invited the art world cognoscenti like Brooke Alexander Gallery , Mary Boone and Jeffrey Deitch . The art writers Richard Goldstein , Kim Levin and Lucy Lippard were among those who visited. Bobby G, Mathew Geller, Mitch Corber and Julie Harrison made videotapes inside and outside
3640-593: The tag-line “You won’t pay more at the A. More Store”. Other iterations of the store were later presented at Barbara Gladstone Gallery, Jack Tilton Gallery, White Columns , and Printed Matter, Inc . The 2017 documentary film Boom for Real: The Late Teenage Years of Jean-Michel Basquiat by Sara Driver contains extensive coverage of Colab, The Real Estate Show , The Times Square Show and ABC No Rio through on-camera interviews with once Colab president Coleen Fitzgibbon and art critic Carlo McCormick . Jenny Holzer Jenny Holzer (born July 29, 1950)
3705-668: Was an active member of Colab during this time, participating in the famous The Times Square Show . Holzer was born on July 29, 1950 in Gallipolis, Ohio . Originally aspiring to become an abstract painter, her studies included general art courses at Duke University in Durham , North Carolina (1968–1970), and then painting, printmaking and drawing at the University of Chicago before completing her BFA at Ohio University , Athens, Ohio (1972). In 1974, Holzer took summer courses at
3770-491: Was created as a result of The Real Estate Show ; support of Tellus Audio Cassette Magazine (1983), NightShift Theater 1979, Spanner Magazine (3 issues 1979), MWF Video Club (established in 1986) and Bomb Magazine (1981). Membership in Colab shifted and evolved over the years, and some members of the original group are still highly visible active making art. In 1980, artists emulating 1970s Puerto Rican activists seized
3835-485: Was created by Scott B and Beth B . Glenn O'Brien and Bomb magazine editor Betsy Sussler also appear in a video ad created by Coleen Fitzgibbon and Cara Perlman. Colab members also widely distributed street posters, placards, and flyers made by Colab artists. Also, Richard Goldstein wrote about The Times Square Show for the June 16th edition of The Village Voice a long article entitled The First Radical Art Show of
3900-787: Was in Jenny Holzer: Projecto Parede at the Museu de Arte Moderna (MAM) of São Paulo in Brazil in 2014 as well as Jenny Holzer: Dust Paintings at Cheim & Read in Chelsea, New York which exemplified her use of government documents as a source for her work. In 2015 she was in Jenny Holzer: Softer Targets at the Hauser & Wirth , Somerset in Bruton, UK which featured new work and other pieces from
3965-416: Was in 1985, "Holzer Duet ... Truisms" with Bill T. Jones . In 2010, she collaborated with choreographer Miguel Gutierrez for the Co-Lab series at the Institute of Contemporary Art, Boston . There were 10 dancers who performed in a room in which Holzer's words were projected along the walls. Solo exhibitions of Holzer's work have been held in institutions such as the Fondation Beyeler in Riehen/Basel and
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#17327808304194030-432: Was once secret public and exposing the "military-commercial-entertainment complex". Holzer's work often concerns violence, oppression, sexuality, feminism, power, war and death; the artist often utilizes the rhetoric of modern information systems to address the politics of discourse. Her main aim is to enlighten, illuminating something thought in silence and meant to remain hidden. Critic Samito Jalbuena has written that
4095-431: Was open 24 hours a day, 7 days a week, in what was then a Times Square full of porno theaters, peep shows, and red light establishments. In addition to experimental painting and sculpture, the exhibition incorporated music, fashion, and an ambitious program of performance and video. For many artists the exhibition served as a forum for the exchange of ideas, a testing-ground for social-directed figurative work in progress, and
4160-436: Was selected as a new member of the American Academy of Arts and Letters . In the early 1980s Holzer bought a farm in Hoosick , New York . and began dividing her time between there and a loft on Eldridge Street in Manhattan . She sold the loft in the late 1990s but still maintains a studio in Brooklyn . Her private art collection includes works by Alice Neel , Kiki Smith , Nancy Spero , and Louise Bourgeois . In
4225-423: Was the first art exhibition to overtly transcended the trappings of class and culture by bringing together people who would not necessarily come together under any other circumstances. The Times Square Show was featured in 2023 at the Centre Pompidou in a Nicolas Ballet curated No Wave exhibition entitled Who You Staring At: Culture visuelle de la scène no wave des années 1970 et 1980 ( Visual culture of
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