Printed Matter presents an exhibition, book launch, and signing with Jenny Holzer on the occasion of the Ivorypress publication of BELLIGERENT. The artist’s book contains seven folded-poster works by Holzer, each one taken from a redacted U.S. government document investigating abuse in military prisons.
JENNY HOLZER – BELLIGERENT LAUNCH, Saturday, April 28, from 5 pm to 7 pm.
PRINTED MATTER, 231 Eleventh Avenue, at 26th Street, New York City.
Jenny Holzer, Belligerent. Image credit: Ivorypress.
2018 is an election year, a chance to end Republican control of Congress.
Educate, organize, resist, register, vote…
… and check out the selection from Marilyn Minter and Andrianna Campbell’s ANGER MANAGEMENT, a pop-up featuring resistant work by John Baldessari, Black Women Artists for Black Lives Matter, Zoe Buckman, Nicole Eisenman, Charles Gaines, Jenny Holzer, Rashid Johnson, Joan Jonas, Barbara Kruger, Glenn Ligon, Robert Longo, Laura Owens, Jack Pierson, Mary Ping, Faith Ringgold, Laurie Simmons, Rirkrit Tiravanija, and many others.
A portion of the proceeds will go to charity and to the Brooklyn Museum.
shop.brooklynmuseum.org/marilyn-minter-resist-t-shirt
Following the recent filing by nine women of a sexual harassment lawsuit against him, longtime Artforum publisher Knight Landesman resigned from his position, followed by the exit of Artforum editor-in-chief Michelle Kuo on October 18. From Kuo’s public statement:
“I resigned because I felt that, in light of the troubling allegations surrounding one of our publishers, I could no longer serve as a public representative of Artforum. We need to make the art world a more equitable, just, and safe place for women at all levels. And that can only be achieved when organizations and communities are bound by shared trust, honesty, and accountability.”
On October 24, a group of ten members of the art community composed and publish the following letter, dedicated to the memory of feminist art historian Linda Nochlin (1931-2017). In the days since its publication, the list of signatories has grown to over a thousand.
“We are not surprised.
“We are artists, arts administrators, assistants, curators, directors, editors, educators, gallerists, interns, scholars, students, writers, and more—workers of the art world—and we have been groped, undermined, harassed, infantilized, scorned, threatened, and intimidated by those in positions of power who control access to resources and opportunities. We have held our tongues, threatened by power wielded over us and promises of institutional access and career advancement.
“We are not surprised when curators offer exhibitions or support in exchange for sexual favors. We are not surprised when gallerists romanticize, minimize, and hide sexually abusive behavior by artists they represent. We are not surprised when a meeting with a collector or a potential patron becomes a sexual proposition. We are not surprised when we are retaliated against for not complying. We are not surprised when Knight Landesman gropes us in the art fair booth while promising he’ll help us with our career. Abuse of power comes as no surprise.
“This open letter stems from a group discussion about sexual harassment within our field, following the recent revelation of Knight Landesman’s sexual misconduct. The conversation has branched out further and internationally. Harder work to advance equity is often expected of and performed by women of color, trans, and gender nonconforming people. Our efficacy relies on taking this intersection very seriously and not excluding other corroborating factors that contribute to bias, exclusion, and abuse. These additional factors include, but are not limited to, race, gender identity, sexual identity, ability, religion, class, political position, economic and immigration status. There is an urgent need to share our accounts of widespread sexism, unequal and inappropriate treatment, harassment and sexual misconduct, which we experience regularly, broadly, and acutely.
“Many institutions and individuals with power in the art world espouse the rhetoric of feminism and equity in theory, often financially benefiting from these flimsy claims of progressive politics, while preserving oppressive and harmful sexist norms in practice. Those in power ignore, excuse, or commit everyday instances of harassment and degradation, creating an environment of acceptance of and complicity in many more serious, illegal abuses of power.
“The resignation of one publisher from one high-profile magazine does not solve the larger, more insidious problem: an art world that upholds inherited power structures at the cost of ethical behavior. Similar abuses occur frequently and on a large scale within this industry. We have been silenced, ostracized, pathologized, dismissed as ‘overreacting,’ and threatened when we have tried to expose sexually and emotionally abusive behavior.
“We will be silenced no longer.
“We will denounce those who would continue to exploit, silence, and dismiss us. Your actions will no longer be a secret, whispered amongst us for fear of ostracization, professional shunning, and recrimination. Where we see the abuse of power, we resolve to speak out, to demand that institutions and individuals address our concerns seriously, and to bring these incidents to light regardless of the perpetrator’s gender.
“We will no longer ignore the condescending remarks, the wayward hands on our bodies, the threats and intimidations thinly veiled as flirtation, or the silence from ambitious colleagues. We will not tolerate being shamed or disbelieved, and we will not tolerate the recrimination that comes with speaking out. We will not join ‘task forces’ to solve a problem that is perpetrated upon us. We provide a definition of sexual harassment, for those who may feel powerless so that they may point to a document that supports a safe work environment for all.
“We, the undersigned—those who have experienced abuse and those standing in solidarity with them—call upon art institutions, boards, and peers to consider their role in the perpetuation of different levels of sexual inequity and abuse, and how they plan to handle these issues in the future.
“We are too many, now, to be silenced or ignored. With all we have experienced and witnessed, this letter should come as no surprise.”
Signatories to the letter can be found here:
Image credit: Jenny Holzer, who offered Not Surprised permission to use the text from her image.
“Combining sensory experience with poetic, political and personal texts,” Hauser & Wirth Zürich presents a show of new work by Jenny Holzer. “This exhibition is a testament to Holzer’s vision of art that encompasses both individual and collective experiences of power and violence, vulnerability and tenderness.”*
JENNY HOLZER, June 12 through July 29.
HAUSER & WIRTH ZÜRICH, Limmatstrasse 270, 8005 Zürich.
*hauserwirth.com/exhibitions/3026/jenny-holzer/view/
(From top): Jenny Holzer, The Renewing, 2017; Domestic Imvestigation, 2017; Ram, 2016. © Jenny Holzer, member Artists Rights Society (ARS), New York. All photographs by Jake Forney. Image credit: Hauser & Wirth.
“Symbols are more meaningful than things themselves.”— Jenny Holzer, from Truisms, in LARRY CLARK—WHITE TRASH
Larry Clark is one of the great New York collectors, and the walls of his Tribeca loft present an ever-changing gallery of the art he has bought, traded, been given by friends, or created himself over the last half century.
LARRY CLARK—WHITE TRASH, at Luring Augustine Bushwick, is an exhibition of artworks from Clark’s personal collection. In addition to the work below, participating artists include: Vito Acconci, Richard Artschwager, Donald Baechler, Max Blagg, Lisa Bowman, Chris Burden, Jeff Elrod, Leo Fitzpatrick, Robert Frank, Paul Gauguin, Robert Gober, Mark Gonzales, Martin Kippenberger, Sherrie Levine, Paul McCarthy, Bjarne Melgaard, Scott Myles, Méret Oppenheim, Jack Pierson, Jason Polan, Sigmar Polke, Christy Rupp, Philip Taaffe, Koichiro Takagi, Sally Webster, Sue Williams, Franz West, Brian Weil, David Wojnarowicz, and Christopher Wool.
LARRY CLARK—WHITE TRASH, through June 18.
LUHRING AUGUSTINE BUSHWICK, 25 Knickerbocker Avenue, Brooklyn.
luhringaugustine.com/exhibitions/larry-clark9
i-d.vice.com/en_au/article/larry-clark-on-his-astoundingly-eccentric-personal-art-collection
Image credits (top to bottom): Joe Andoe, Spaniard in the Works, 2012, oil on canvas; Wade Guyton, Untitled, 2008, Xerox print; Mike Kelley, Blood and Soil (Potato Print), 1989, silkscreen in colors on a silk banner; Richard Prince, Untitled (Joke), 2013, ink jet on canvas; Wallace Berman, Untitled, 1967, verifax collage; Helmut Newton, Larry Clark, Cannes, 1995, photograph; Raymond Pettibon, No Title (They Ought To…), 1985, pen and ink on paper.
