JENNY HOLZER
1950, Gallipolis, Ohio - Lives and works in New York
F / B / S / V / INSTV
| ARTISTS' BOOKS AND MULTIPLES | ||
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| Eating Through Living [with Peter Nadin] | Tanam Press | 1981 |
| Laments (book and video) | Dia Art Foundation | 1989 |
| Wooden Post Cards (inc. Money Creates Taste / Private Property Created Crime / Torture is Barbaric / The Beginning of the War will be Secret / Protect Me Form What I Want) | Art Post (one by Printed Matter: The Beginning of the War...) | nd |
| Modern Old Fashion Glasses (a set of 4 glasses with text: Protect Me From What I Want / You are Guileless in Your Dreams / The Most Profound Things are Inexpressible / Boredom Makes Me do Crazy Things) | Modern Old Fashion | nd |
| Pencils from Truisms Series (multiple) | self | nd |
| Rubber Stamp (Any Surplus is Immoral) | Walker Art Center | 1991 |
| Truisms and Essays (with poster insert) | Barbara Gladstone Gallery | 1983+ |
| Truism Stamps | for Printed Matter | 1995 |
| POSTERS | ||
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| Black Book Posters [aka: Inflamatory Essays - small version] | self (third edition) | 1995 |
| Inflamatory Essays [set of 27 street posters, early, 17" x 17"] | self | 1979-82 |
| Inflamatory Essays [poster/flyer with 10 essays on the sheet] | Fashion Moda | 1979 |
| First Impressions Poster [Truisms] (exhibition poster) | Walker Art Center, Minneapolis | 1989 |
| Truisms [early street poster] | self | 1978 |
| ESSAYS AND WRITINGS BY AND INTERVIEWS WITH HOLZER | ||
| Interview with Holzer | New Art, Rizzoli | 1991 |
| Selected writings and images in: Witness to Her Art | Center for Curatorial Studies, Bard College | 2006 |
| EPHEMERA | ||
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| Jenny Holzer [exhibition catalogue / brochure: the Living Series and Truisms] | ICA, Boston | 1983 |
| Jenny Holzer: Archive (large exhibition poster - Redaction Paintings) | Cheim & Read, New York | 2006 |
| Jenny Holzer: Protect Protect (gallery guide and brochuer for the exhibition) | Whitney Museum of American Art | 2009 |
| Raise Boys and Girls the Same Way [from Truisms - postcard for the exhibition Thinking Print] | The Museum of Modern Art, New York | 1996 |
| The Most Profound Things Are Inexpressible [Newsletter No. 10] | BALTIC Centre for Contemporary Art, Gateshead | 2000 |
| VIDEOS | ||
| Laments (installation) | Dia, New York | 1989 |
| OTHER PUBLICATIONS | ||
| Democracy: A Project by Group Material | Bay Press / Dia Art Foundation | 1990 |
| Inserts ["Advertising Supplement to The New York Times" sponsored by the Public Art Fund] | Group Material | 1988 |
| Numero Quattro a cura di Sol Lewitt - Periodical Curated by Sol LeWitt | Edizione Cenobio Visualita Ass., Milan | 1982 |
| INDIVIDUAL CATALOGUES | ||
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| Jenny Holzer | Solomon R. Guggenheim Museum | 1989 |
| Jenny Holzer: Protect Protect | MoCA, Chicago / Whitney Museum + | 2008 |
| Jenny Holzer: The Venice Installations [44th Venice Biennale - United States Pavilion] | Venice | 1990 |
| Jenny Holzer: Signs | Des Moines Art Center | 1986 |
| CATALOGUES INCLUDING HOLZER | ||
| A Decade of New Art: Artists Space | Artists Space, New York | 1984 |
| A Forest of Signs: Art in the Crisis of Representation | The Museum of Contemporary Art, Los Angeles | 1989 |
| Art & Social Change | Allen Memorial Art Museum, Oberlin College, Ohio | 1983 |
| Art and the Dialectic Process [catalogue brochure] | Everhart Museum, Scranton, Pennsylvania | 1987 |
| Billboard Art on the Road | MASS MoCA, North Adams, Massachusetts | 1999 |
| Carnegie International 1985 [Curators: John R. Lane and John Caldwell] | The Carnegie Museum of Art, Pittsburg, Pennsylvania | 1985 |
| Committed to Print: Social and Political Themes in Recent American Printed Art | The Museum of Modern Art, New York | 1988 |
| Compassion and Protest: Recent Social and Political Art from the Eli Broad Family Foundation Collection | San Jose Art Museum | 1991 |
| Constitution [organized by Group Material] | The Temple Gallery, Temple University, Philadelphia | 1987 |
| Content: A Contemporary Focus 1974-1984 | Hirshhorn Museum and Sculpture Garden | 1984 |
| Cultural Economies:Histories from the Alternative Arts Movement, NYC | The Drawing Center, New York | 1996 |
| Devil on the Stairs: Looking Back on the Eighties | Institute of Contemporary Art, Philadelphia | 1991 |
| Disarming Images: Art for Nuclear Disarmament | The Art Museum Association of America | 1984 |
| Documenta 7 | Kassel, Germany | 1982 |
| Documenta 8 [curator: Manfred Schneckenburger] | Kassel | 1987 |
| East Village USA | The New Museum of Contemporary Art, New York | 2004 |
| Energieen [Energies] | Stedelijk Museum, Amsterdam | 1990 |
| First Impressions: Early Prints by Forty-six Contemporary Artists | The Walker Art Center, Minneapolis | 1989 |
| Gloria:Another Look at Feminist Art of the 1970s | White Columns, New York | 2002 |
| Image World: Art and Media Culture | Whitney Museum for American Art | 1989 |
| Inquires: Language in Art | Art Museum of Ontatio | 1990 |
| In Search of The Media Monster | Art Gallery, Cleveland State University, Ohio | 1988 |
| la Biennale di Venezia 44: National Pavilion - United States | Venice, Arsenale | 1990 |
| la Biennale di Venezia 48 | Venice, Italy | 1999 |
| la Biennale di Venezia 51: The Experience of Art / Always a Little Further | Venice | 2005 |
| Longing and Belonging From the Faraway Nearby | Site Santa Fe | 1995 |
| Making Their Mark: Women Artists Move Into The Mainstream 1970-85 | Cincinatti Museum of Art | 1993 |
| Massive Political Group Show II: Visual Art, Performance, Music, Poetry, Video. [poster / no catalogue] | ABC No Rio, New York | 1985 |
| Media Post Media | Scott Hanson Gallery, New York | 1988 |
| Mediascape | Guggenheim Museum Soho | 1996 |
| Memento Mori | Moore College of Art, Philadelphia | 1985 |
| Metropolis | Martin Gropius Bau, Berlin | 1991 |
| Nowhere / Now Here | Louisiana Museum of Modern Art, Humlebeak, Denmark | 1996 |
| Perverted by Language | Hillword Art Gallery, New York | 1987 |
| Power: Its Myths and Mores in American Art 1961-1991 | Indianapolis Museum of Art | 1991 |
| Public Art | Nexus Contemporary Art Center, Atlanta | 1985 |
| Pulsa 2: Report on a Phenomenon [curator: Phyllis Plous] | University Art Museum, Santa Barbara, California | 1990 |
| Putt-Modernism: 18 Hole Miniature Golf Course & Exhibition | Artists Space, New York | 1992 |
| San Diego Museum of Contemporary Art: A Selections from the Permanent Collection | San Diego Museum of Contemporary Art | 1990 |
| Secular Attitudes | Los Angeles Institute of Contemporary Art | 1985 |
| 75th American Exhibition | Art Institute of Chicago | 1982 |
| Signs [curator: Ned Rifkin] | The New Museum of Contemporary Art, New York | 1985 |
| Sites and Solutions: Recent Public Art [curated by Judith Tannenbaum] | Freedman Gallery, Albright College, Reading, Pennsylvania | 1984 |
| Social Strategies: Redefining Social Realism | University Art Museum, University of California, Santa Barbara | 2003 |
| Sonsbeek 86 | Arnhem, The Netherlands | 1986 |
| Stations | Centre International D'Art Contemporian De Montreal | 1988 |
| The Art of Eastern Europe in Dialogue with the West | Moderna galerija Ljubljana | 2000 |
| The Decade Show: Frameworks of Identity in the 80s | The New Museum of Contemporary Art / The Studio Museum of Harlem / the Museum of Contemporary Hispanic Art,, New York | 1990 |
| The End: An Independent Vision of Contemporary Culture, 1982-2000 [curatore: Jeanette Ingberman and Papo Colo] | Exit Art, New York | 2000 |
| The 1984 Show | Ronald Feldman Fine Art, Inc, New York | 1983 |
| The Passions of the Good Citizen [brochure] | Apexart, New York | |
| The Political Arm | John Weber Gallery / Washington University Gallery of Art | 1991 |
| Thinking Print: Books to Billboards, 1980-1995 | The Museum of Modern Art, New York |
1996 |
| Whitney Biennial 1983 [John G. Hanhardt, Barbara Haskell, Richard Marshall, and Patterson Sims] | Whitney Museum of American Art | 1983 |
| Whitney Biennial 1985 [Richard Armstrong, John G. Hanhardt, Barbara Haskell, Richard Marshall, Lisa Phillips, and Patterson Sims] | Whitney Museum of American Art | 1985 |
| Women of Influence | Amerika Haus Berlin | 1984 |
| Word as Image: American Art 1960-1990 | Milwaukee Art Museum | 1990 |
| GROUP MATERIAL EXHIBITIONS | ||
| MASS | The New Museum of Contemporary Art, New York | 1986 |
| Resistance (Anti-Baudrillard) | White Columns, New York | 1987 |
| SELECTED BOOKS INCLUDING HOLZER | ||
| A Guide to Democracy in America | Creative Time Books | 2008 |
| Alternative Art New York 1965-1985 | The Drawing Center / University of Minnesota Press | 2002 |
| Appropiation [Documents of Contemporary Art] | MIT Press / Tate Gallery | 2009 |
| Art After Midnight: The East Village Scene | St. Martin's Press | 1986 |
| Art After Modernism: Rethinking Representation | The New Museum of Contemporary Art | 1984 |
| Art and Artifact: The Museum as Medium | Thames & Hudson | 2001 |
| Art in the Age of Mass Media | Westview Press | 1994 |
| Art Matters: How the Culture Wars Changed America | New York University Press | 1999 |
| Art Recollections:Artists' Interviews and Statements in the Nineties | Danilo Montanari & Exit & Zona Archives Editori | 1997 |
| Art Talk: The Early 80s | Da Capo Press | 1988 |
| Beyond Recognition: Representation, Power, and Culture | University of California Press | 1992 |
| Blasted Allegories: An Anthology of Writings by Contemporary Artists | The New Museum of Contemporary Art | 1987 |
| Creative Time: The Book 33 Years of Public Art in NYC | Princeton Architectural Press | 2007 |
| But is it Art? The Spirit of Art as Activism | Bay Press | 1995 |
| Conceptual Art | Phaidon | 1998 |
| 5000 Artists Return to Artists Space: 25 Years | Artists Space / D.A.P. Press | 1998 |
| Get the Message? A Decade of Art for Social Change [Lucy Lippard] | E.P. Dutton | 1984 |
| Hotel [Living by Holzer and Peter Nadin] | Tanam Press | 1980 |
| Mapping the Terrain: New Genre Public Art | Bay Press | 1995 |
| Mixed Blessings: New Art in a Multicultural America [Lucy Lippard] | Pantheon Books | 1990 |
| New Art | Rizzoli | 1991 |
| On the Museum's Ruins | MIT Press | 1993 |
| Real Life Magazine: Selected Writings and Project s 1979-1994 [Truisims] | Primary Information, New York | 2006 |
| SoHo: The Rise and Fall of an Artists' Colony | Routledge | 2003 |
| The Artist's Contract | Verlag der Buchhandlung Walther Konig, Koln |
2009 |
| The Lure of the Local: senses of place in a multicentered society | The New Press, New York | 1997 |
| Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings | University of California Press | 1996 |
| The Pink Glass Swan: Selected Feminist Essays on Art | The New Press, New York | 1995 |
| Witness to Her Art | Center for Curatorial Studies, Bard College | 2006 |
| PERIODICALS INCLUDING HOLZER | ||
| Artforum [Artist's Projects Issue] | Artforum | 1980 |
| Art International [New York: Revivals and Survivals] | Summer | 1990 |
| Art International [Venice Preview] | Summer | 1990 |
| Art Journal [from Black Book (Inflamatory Essays)] | Summer | 1982 |
| Art Journal [From Gaget Video to Agit Video: Some Notes on Four Recent Video Works [Benjamin Buchloh] [and in Chronology] | Fall | 1985 |
| Cover #6 | Artcover, New York | 1981 |
| Heresies #14 The Women's Pages | Heresies | 1982 |
| Heresies #20 Activists, Organizers, Progressives... | Heresies | 1985 |
| New Observations # 35 [Laugh Hard at the Absurdly Evil (selection from the Survival Series) / More Survival by Holzer] | New Observations Ltd. | 1985 |
| Parkett # 15 | Parkett | 1988 |
| Parkett # 40/41 | Parkett | 1994 |
| The Print Collector's Newsletter [article by Carter Ratcliff on Holzer] | November-December | 1982 |
| Trans> arts.cultures.media # 5 | Passim, Inc. | 1998 |
| Wedge #01 | Brian Wallis and Phil Mariani | 1982 |