jenny holzer living


‪#‎MuseumWeek‬ 2016 has begun! Follow @museummodernart on Twitter for stories, photos, and videos all week long. Today’s theme is ‪#‎SecretsMW‬, so we’re sharing some of our favorite lesser-known spots in the museum. Click through the slideshow to discover these gems.

1. In the education building you’ll find a wall of Andy Warhol’s Cow Wallpaper that’s perfect for photo ops.

[Andy Warhol. Cow Wallpaper. 1966. The Museum of Modern Art, New York. © 2011 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York]

2. A Jenny Holzer Living series plaque is tucked away on the second floor near the bookstore.

[Jenny Holzer. Living: You should limit the number of times…. 1980-82. The Museum of Modern Art, New York. © 2016 Jenny Holzer / Artists Rights Society (ARS), New York] 

3. A secret spot many visitors miss is the Sol LeWitt wall drawing in the film lobby.

[Sol LeWitt. Wall Drawing #1144, Broken Bands of Color in Four Directions. 2004. The Museum of Modern Art, New York. © 2016 Sol LeWitt / Artists Rights Society (ARS), New York] — at MoMA The Museum of Modern Art.

4. A Ferrari 641 Formula 1 racing car hangs in our education building. 

[John Barnard, Ferrari S.p.A., Maranello, Italy. Formula 1 Racing Car (641/2). 1990. The Museum of Modern Art, New York. Photograph: @raghav_k93 on Twitter]


Mary Shelley | Frankenstein

Kanye West | Wolves | The Life of Pablo

Dorothea Lasky | Why is it a Black Life | Thunderbird

I know I confuse you guys sometimes but please bare with me. cf. confusing yourself is a way to stay honest

Kanye West | FML | The Life of Pablo

Clarice Lispector | The Passion According to G.H.

Kanye West | No More Parties In LA | The Life of Pablo

Mary Shelley | Frankenstein

Kanye West | Ultralight Beam | The Life of Pablo

Clarice Lispector | The Passion According to G.H.

On View at the AMAM: Perhaps Jenny Holzer’s most accessible work, the Living Series focuses on life and the human condition. This emphasis on subject matter related to everyday life reflected Holzer’s belief that “if you want to reach a general audience, it’s not art issues that are going to compel them to stop on the way to lunch, it has to be life issues.”  In the Living Series, Holzer focuses on building suspenseful narratives more than on perfecting brief biting statements.  Holzer explains, “for the Living Series, I went to a moderate voice and temperate language because I thought this would match the subject: everyday events that just happened to have some kink in them. The writing described these events and then offered an absurdity or some sociopolitical observation.”

Holzer’s use of conceptual dichotomies in the Living Series enabled her to call mass culture and its messages into question. For instance, we associate plaques with official statements, yet the text of the Living Series does not demand much authority at all. She juxtaposes the durability of a bronze sign with descriptions of fleeting moments and the fragility of life. While plaques often commemorate events or people, the statements on the Living Series plaques often express regret or a wish to forget, while in the case of the work at the AMAM, the plaque does not commemorate the past but rather predicts an unsettling future.

Jenny Holzer (American, b. 1950) and Peter Nadin(English, b. 1954)
Untitled, from the Living Series, 1982
Cast bronze with dark brown patination
Friends of Art Endowment Fund, 1982.100