Wednesday, August 26, 2009

Jenny Holzer and George Brecht

The following conversation takes place between two similar artists; Jenny Holzer and George Brecht. Both of these influential artists practiced American Conceptual Art and had a very strong impact on the art world. Both the artists lived and practiced their work in the 20th century and both had unique and very innovative views on life and the objects around them. One of the ways that Brecht actually described his artwork was to “[ensure] that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed” (Brecht). Though Brecht was deemed part of the Fluxus movement and Holzer was more focused on the practice of conceptualism, both artists seemed to have very similar views on the society and the people that lived outside of the “high-art” circles that many museums and galleries attract.

Jenny Holzer walks through the entrance of the gallery. The air was thick and muggy from all the spectators that have come to see the show. She had heard of George Brecht before but had never actually gotten the chance to meet him. Across the room, Brecht stood at attention, watching the countless audience members sit and stand out of the chairs he had placed in the corners of the rooms. Jenny approaches him.

“You must be George?” She said with a very overzealous yet confident voice.
“Why, yes I am. And who might you be young lady?”
“I am Jenny Holzer and I am a big fan of your exhibitions. I too am in the practice of conceptual art and admire what you have done for such an art form.”
“Oh, Ms. Holzer, I have heard of and seen your work. I am quite impressed myself,” said Brecht as he continued to visually peruse the audience. His reaction seemed very sincere, hard to really tell with some artists who like to put on a good face. Brecht was quite a bit older then Jenny. He had been doing artwork from quite some time before she was even born. For Jenny to receive such compliment meant a lot to her.
“Thank you,” she replied, “I am excited for today’s exhibition. It seems like you have taken your ‘three chair event’ to an entirely new level.
“That’s right. After doing my first ‘three chair event’ back in 1961, the most common question I received was, ‘why three chairs!?’ This is my answer to all of them. I am trying to convey the fact that it doesn’t have to be three chairs but rather an experience of finally realizing that the world is filled with subtle objects, and day-by-day, they go ignored. People take advantage of all the simple inventions in life and do not slow down to look at the carpets, the roof shingles, coffee tables, cups, plates, and yes, even these chairs.” Jenny looked at him with admiration. His concepts from earlier work had revolutionized conceptual art and she was excited to be in his presence.

“So Mr. Brecht,” Jenny said with enthusiasm, “I wanted to let you know that I am putting on an exhibition of my own in the months to come and I would like to cordially invite you to the presentation.”
“That sounds wonderful,” George said in response. “Is it another public projection? Your truisms were always my favorite presentations.”
“It is very similar. I plan to travel to Old Jerusalem and project onto the historical Wailing Wall. I feel that some truisms would be very appropriate at this time in their country and I want to be able to bring my art to those outside of the states.” With a look of pride, George responds with a flattering nod.
“That sounds wonderful Jenny; I will absolutely be able to make it to that presentation. What inspired you to do this presentation in Jerusalem?”
“Well, in all honestly,” Jenny said in response, “I wanted to do something on a massive scale. I know that I have previously projected on buildings and signs, but the Wailing Wall is quite large in size and to completely fill it with truisms would be quite compelling. As an added element, half of the truisms will be in Hebrew and will hopefully really affect and send a message to all the citizens that live in the country. Not only visitors from all around the world will enjoy this presentation but hopefully the local residents will have something to remember as well.” George Brecht, though still perusing the audience with his gaze, looked very intrigued by the idea. He had seen a lot of conceptual art in his day but was impressed by this modern way of display and presentation.
“Well Ms. Holzer that does sound quite intriguing. I am definitely looking forward to attending. Have you had a chance to make it around the room yet? The chairs might look simple on the surface but I am not a simple kind of artist.” When Jenny turned her head around to the audience members, she could see in their faces that something was quite compelling to all of them. From where she stood, they all looked like normal chairs.
“I have not,” Jenny said, “I was just about to go do so.” After she walked around the room she realized that none of the chairs were actual chairs. There were objects such as rubber, limp chairs to simply pictures of chairs. Brecht had made all of them with an optical illusion of sorts. No one could tell that these chairs didn’t exist until you were right there on top of them.
After returning to Brecht, Jenny was even more impressed with what she had seen. “This exhibition is amazing, Mr. Brecht. I am very excited for all of this work you have chosen today.”
“Thank you Ms. Holzer, I appreciate the compliment. Thank you for coming today and I look forward to coming and viewing your exhibition. We will be in touch.” Jenny turned and walked out through the front door knowing that she had had the great opportunity to see such an amazing artist’s work.

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