Jenny Holzer

In the huge darkened hall of the museum’s Building 5, Ms. Holzer has set up two powerful machines to project lines of text spelled out in stark white block letters. Placed at opposite ends of the room, the projectors send verses scrolling across the floor, up the walls and back over the ceiling. Distributed around the floor of the room are giant beanbag chairs, each about 10 feet across; they look like boulders sunk into the ground or a school of beached whales.

The silvery and shadowy light creates a dreamy, lunar effect. The words, which become enlarged gigantically as they crawl up the farthermost walls, seem to shout at the viewer even as an ominous silence prevails. It’s like a postapocalyptic political rally or a rock ’n’ roll light show after all the people have gone.

With the poetry Ms. Holzer has solved a big problem. Since her marvelously succinct Truisms of the late 1970s, the poems she has composed and displayed by various means — from LED signs to carved stone benches — have been turgid and morally hectoring. Now she is using poems by other, better poets.

http://www.nytimes.com/2007/12/26/arts/design/26holz.html

The third projection artist whom I’ve chosen to look at is Jenny Holzer unlike the previous two artists that I have looked at her work it isn’t images projected onto buildings rather words, short stories that allude to a darker more gruesome side and are likely to be real.I find these to be very powerful messages that have been seen far and wide across the world I have selected what I think are the most powerful of all, and although this is merely my opinion, if given an opportunity I would like to complete work of a similar nature but I have now decided against projections as I couldn’t find anything that I wanted to project.