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The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing.
All mounting is fully reversible, without any potential damage to the art. All of our frames come with picture quality. It is now considered the industry standard for artists, museums and galleries throughout the world. Sign Up. Log In. All Artists From the Studio. Past Auctions Consignments. Recent Articles. Mickalene Thomas releases two new Phaidon Artspace Editions.
Tillie Burden — 'I make objects in glass to present another perspective, to express the material as a sculptural medium'. Marcel Duchamp playing chess.
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LEARN through exclusive content featuring art news, collecting guides, and interviews with artists, dealers, collectors, curators and influencers. BUY authentic artworks from across the globe. Sign In Sign in for personalized experiences, exclusive access to new works, special offers, invitations and features. Sign in now. Not a member yet? Join Artspace Forgot your password? Damien Hirst, Pardon, If any consistent viewpoint emerges in the edgy, stream-of-consciousness provocations, it is that truth is relative and that each viewer must participate in determining what is legitimate and what is not.
Since the Truisms , Holzer has continued to use language as her primary medium and has employed myriad ways to convey her messages. Selections from her Inflammatory Essays series —82 , for example, appeared on unsigned, commercially printed posters pasted on buildings and walls around Manhattan.
This mode of dissemination brought her disquieting messages to a new height of subversive social engagement. Her strategy—placing surprising texts where normal signage is expected—gives Holzer direct access to a large public that might not give "art" any consideration, while allowing her to undermine forms of power and control that often go unnoticed.
Her installations over the last three decades have raised questions about the viability of public art, the commodification and consumption of art, and the relationship between the personal and the political. Gehry-designed building, Installation for Bilbao reflects Holzer's expanding engagement in the late s and s with architectural space and, more specifically, with the institutional space of the museum.
Its fifty-four statements and messages spin through a single LED sign, ranging from humorous to disturbing, and communicating private thoughts many of which are inappropriate in polite conversation. One includes a computerized Spectacolor graphic of a woman's face alongside the words, "What urge will save us now that sex won't? Some issue direct commands to viewers. The point of the work and its value as art forces us to question our relationship with the technology we often take for granted.
Among the most visually striking of Holzer's works, her installation at the Guggenheim in contained blinking messages from her various series, spiraling down the interior ramp of the famous building. The messages drew from a variety of voices, perspectives, beliefs, and biases, prompting viewers to choose which messages to agree with or discard, highlighting that truth is relative, not absolute.
Whereas in other contexts Holzer's signs were about blending in, in the context of the Guggenheim it was about clashing with the austere formalism of the famous 20 th -century spiral building. Roberta Smith of the New York Times called it "a vast darkened cave with glowing embers at its center.
By flooding this hallowed space with technology not normally considered art, Holzer pushed the everyday into confrontation with the eternal. Though always political, from onward, Holzer became more explicitly and directly engaged with the physical and mental impacts of violence and trauma. The organized, systematic rapes committed against Bosnian women during the war in the former Yugoslavia inspired this piece, and the title is taken from a German word that mingles murder and sexual pleasure.
Components of this piece include a table of human bone remnants, LED text boards, and photograph of words written on skin. Holzer purchased the bones from a dealer in New York they are not bones from actual victims , and displays them as if for scientific examination. Many of the bones represent parts of the body typically associated with feminine beauty and sensuality: teeth, shoulders, thighs, ribs, back, fingers, and pelvis.
The bones are adorned with rings engraved with text from three poems in English and German, each offering the perspective of a perpetrator, a victim, or an observer.
Text from these poems also appears on LED boards, and on the skin in the photographs, mixing the material, so that it is impossible to determine who is speaking. Evidence of Holzer's range as an artist and story teller, this focused, close-up, highly personal exploration of the devastating consequences of war offers a dramatic counterpoint to the detached, electronic mediation we have come to expect from her. In her light projections dating from onward, Holzer has been focusing on large-scale text-based images projected onto the sides of buildings.
Xenon, the title of this series, is a technical term for part of the lamp used in a projector. The work seen here is projected onto the side of the Kunsthaus Bregenz building - the contemporary art exhibition center in Austria. The series is based on declassified documents made public following the Freedom of Information Act. Concentrating on documents that have been partially or almost completely redacted with censor's marks, Holzer calls viewers' attention to the fact that while these classified documents have been made public, much of their significance remains hidden.
While ostensibly protecting American citizens and military personnel, these documents may also be concealing government abuses of power. Holzer's work highlights the tension between secrecy and transparency, a fundamental element of American foreign policy. In Xenon for Bregenz , the interplay between light and shadow in the projection itself is a powerful metaphor for this tension.
Holzer's ongoing work on declassified National Security Archive information led her to partially or completely censored documents. February 9—May 18, Photography by Brian Forrest.
In Laments: I am a man. Evocative of the information age's never-ending barrage of opinions, facts, and fictions, the proto-pixel technology adapted from commercial signage employs small diode lights to generate phrases that disappear as quickly as they arrive. Holzer has used technology to smuggle her urgent and provocative texts into unlikely sites, displaying, for instance, "Protect me from what I want" on the large electronic billboard in Times Square in
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