[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:10.17,0:00:15.11,Default,,0000,0000,0000,,JENNY HOLZER: I like my pieces \Nto be very short at moments
Dialogue: 0,0:00:16.24,0:00:24.11,Default,,0000,0000,0000,,and other times I want them to be sustained \Nand capable of holding people’s interest.
Dialogue: 0,0:00:27.36,0:00:31.16,Default,,0000,0000,0000,,Time is an especially important \Nconsideration with the public works
Dialogue: 0,0:00:31.16,0:00:34.40,Default,,0000,0000,0000,,because I know people going \Nby won’t have much time,
Dialogue: 0,0:00:34.40,0:00:37.91,Default,,0000,0000,0000,,so that’s why I tend to make very short things.
Dialogue: 0,0:00:39.68,0:00:44.92,Default,,0000,0000,0000,,When I’m working indoors I want \Nto have bounty if you will,
Dialogue: 0,0:00:44.92,0:00:51.37,Default,,0000,0000,0000,,so if someone is willing to lie down on \Nthe floor, that they will be rewarded.
Dialogue: 0,0:00:52.48,0:00:59.68,Default,,0000,0000,0000,,It was more than a little intimidating to \Nwork in the van der Rohe building in Berlin.
Dialogue: 0,0:00:59.68,0:01:03.56,Default,,0000,0000,0000,,It took me a shockingly long \Namount of time to figure out that
Dialogue: 0,0:01:03.56,0:01:07.96,Default,,0000,0000,0000,,the building is a roof with glass walls.
Dialogue: 0,0:01:07.96,0:01:12.84,Default,,0000,0000,0000,,Once that came to me, I focused on the \Nroof by putting the electronics there
Dialogue: 0,0:01:12.84,0:01:17.34,Default,,0000,0000,0000,,and then let the glass walls \Ngive me all those reflections.
Dialogue: 0,0:01:21.68,0:01:27.24,Default,,0000,0000,0000,,I want people to concentrate on the \Ncontent of the writing and not who done it.
Dialogue: 0,0:01:28.16,0:01:32.72,Default,,0000,0000,0000,,I want the work to be of utility \Nto as many people as possible.
Dialogue: 0,0:01:32.72,0:01:38.44,Default,,0000,0000,0000,,And I think if it were attributed \Nto me, it would be easier to toss.
Dialogue: 0,0:01:39.67,0:01:42.52,Default,,0000,0000,0000,,There are lots of I’s and you’s \Nin the inflammatory essays,
Dialogue: 0,0:01:42.52,0:01:47.98,Default,,0000,0000,0000,,but they’re not me, they’re many different \Nvoices on a host of unmentionable subjects.
Dialogue: 0,0:01:49.36,0:01:51.83,Default,,0000,0000,0000,,Somebody was kind enough to put top ten favorites,
Dialogue: 0,0:01:51.83,0:01:53.53,Default,,0000,0000,0000,,so let’s see if they’re ours.
Dialogue: 0,0:01:55.48,0:02:00.64,Default,,0000,0000,0000,,That color is less putrid, so how about \N“Fear is the most elegant weapon.”
Dialogue: 0,0:02:00.64,0:02:02.12,Default,,0000,0000,0000,,I’ll dig for the next one.
Dialogue: 0,0:02:02.12,0:02:04.48,Default,,0000,0000,0000,,“Rejoice, our times are intolerable.”
Dialogue: 0,0:02:04.48,0:02:07.15,Default,,0000,0000,0000,,Funny how that happens time \Nand time again. (LAUGH)
Dialogue: 0,0:02:07.15,0:02:08.84,Default,,0000,0000,0000,,SPEAKER: Comes around.\NHOLZER: There you go.
Dialogue: 0,0:02:09.52,0:02:11.60,Default,,0000,0000,0000,,HOLZER: “The end of the USA” \Nis probably too vile, right?
Dialogue: 0,0:02:11.60,0:02:12.24,Default,,0000,0000,0000,,SPEAKER: Yeah.
Dialogue: 0,0:02:12.24,0:02:17.32,Default,,0000,0000,0000,,HOLZER: Okay. That even got taken down in Canada,\Nso I guess that’s not happening.
Dialogue: 0,0:02:17.32,0:02:22.16,Default,,0000,0000,0000,,HOLZER: David, they started \Nout in the little size.
Dialogue: 0,0:02:22.16,0:02:29.32,Default,,0000,0000,0000,,Uhm, we also could use that cause those \Nwere the first ones in the ‘80s and uh,
Dialogue: 0,0:02:29.32,0:02:32.96,Default,,0000,0000,0000,,it would make kind of a different \Npattern if we’d go with the little guys,
Dialogue: 0,0:02:32.96,0:02:36.40,Default,,0000,0000,0000,,cause then we could make a \Nreally crazy patchwork thing.
Dialogue: 0,0:02:36.40,0:02:37.36,Default,,0000,0000,0000,,All right.
Dialogue: 0,0:02:37.36,0:02:40.80,Default,,0000,0000,0000,,Well let’s let them marinate in the \Nbasement and we can come back to them.
Dialogue: 0,0:02:40.80,0:02:41.60,Default,,0000,0000,0000,,DAVID: Okay.
Dialogue: 0,0:02:43.03,0:02:46.92,Default,,0000,0000,0000,,HOLZER: The TRUISMS were perhaps \Nan overly ambitious attempt.
Dialogue: 0,0:02:46.92,0:02:50.00,Default,,0000,0000,0000,,I wanted to have almost every subject represented,
Dialogue: 0,0:02:50.95,0:02:52.94,Default,,0000,0000,0000,,almost every possible point of view.
Dialogue: 0,0:02:54.44,0:02:59.26,Default,,0000,0000,0000,,And then I did have to sort out what \Nthese sentences should appear upon.
Dialogue: 0,0:03:05.56,0:03:08.65,Default,,0000,0000,0000,,I stopped writing my own text in 2001.
Dialogue: 0,0:03:08.88,0:03:12.44,Default,,0000,0000,0000,,I found that I couldn’t say enough adequately
Dialogue: 0,0:03:12.44,0:03:16.95,Default,,0000,0000,0000,,and so it was with great pleasure \Nthat I went to the text of others.
Dialogue: 0,0:03:18.84,0:03:22.70,Default,,0000,0000,0000,,I was invited to make something \Nfor the lobby at 7 World Trade.
Dialogue: 0,0:03:23.40,0:03:30.34,Default,,0000,0000,0000,,And after much stewing, came up with \Nthe idea of doing a text in the wall.
Dialogue: 0,0:03:30.34,0:03:34.30,Default,,0000,0000,0000,,And not memorial text, but text about \Nthe joy of being in New York City.
Dialogue: 0,0:03:35.80,0:03:43.68,Default,,0000,0000,0000,,To make the piece I had to make quite a few \Nsite visits and not only stare at the space,
Dialogue: 0,0:03:43.68,0:03:45.17,Default,,0000,0000,0000,,but walk it and feel it.
Dialogue: 0,0:03:46.32,0:03:51.34,Default,,0000,0000,0000,,The space at 7 World Trade \Ndemanded that I fill the lobby,
Dialogue: 0,0:03:52.18,0:03:54.75,Default,,0000,0000,0000,,and in particular the glass wall.
Dialogue: 0,0:03:55.76,0:04:00.49,Default,,0000,0000,0000,,And so I thought that that text \Nshould flow by, should float by.
Dialogue: 0,0:04:00.49,0:04:01.94,Default,,0000,0000,0000,,And so it did.
Dialogue: 0,0:04:03.48,0:04:08.05,Default,,0000,0000,0000,,It’s never possible to know how things \Nreally will look until they’re up.
Dialogue: 0,0:04:09.04,0:04:13.32,Default,,0000,0000,0000,,So I’m as eager as anyone \Nelse to see how it will be.
Dialogue: 0,0:04:16.67,0:04:21.56,Default,,0000,0000,0000,,The poetics come from the poetry \Nby others, not from myself.
Dialogue: 0,0:04:21.56,0:04:25.68,Default,,0000,0000,0000,,But what I can contribute is \Nsomething like a visual poetics
Dialogue: 0,0:04:25.68,0:04:32.81,Default,,0000,0000,0000,,that can have to do with the color \Nand the pauses, uhm the omissions.
Dialogue: 0,0:04:41.44,0:04:46.88,Default,,0000,0000,0000,,HOLZER: You know I thought maybe afterwards \Nwe could uhm work on the poem selection.
Dialogue: 0,0:04:47.44,0:04:49.51,Default,,0000,0000,0000,,So if you’re game, that would be really handy.
Dialogue: 0,0:04:50.60,0:04:55.39,Default,,0000,0000,0000,,Henri Cole and I were both fellows \Nat the American Academy in Berlin.
Dialogue: 0,0:05:03.97,0:05:06.44,Default,,0000,0000,0000,,HENRI COLE: Jenny projected \Na poem of mine called Blur.
Dialogue: 0,0:05:06.44,0:05:10.68,Default,,0000,0000,0000,,It’s a sonnet sequence, on the \Npolice headquarters of Venice,
Dialogue: 0,0:05:10.68,0:05:14.04,Default,,0000,0000,0000,,which is across from the Peggy Guggenheim Museum.
Dialogue: 0,0:05:14.04,0:05:18.52,Default,,0000,0000,0000,,I guess it was a building of \Nfear to Venetians during the war.
Dialogue: 0,0:05:18.52,0:05:25.72,Default,,0000,0000,0000,,And my poem was a...a very \Nuh, kind of naked love poem
Dialogue: 0,0:05:25.72,0:05:32.51,Default,,0000,0000,0000,,and to project that onto this scary building \Nwas interesting and meaningful and beautiful…
Dialogue: 0,0:05:32.51,0:05:34.58,Default,,0000,0000,0000,,HOLZER: Substituting one \Nkind of fear for another one.
Dialogue: 0,0:05:34.58,0:05:35.31,Default,,0000,0000,0000,,COLE: Yeah.
Dialogue: 0,0:05:35.31,0:05:39.64,Default,,0000,0000,0000,,HOLZER: Yeah we had two projectors, so \Nthe light crossed over the Grand Canal
Dialogue: 0,0:05:39.64,0:05:42.60,Default,,0000,0000,0000,,and so we would have the same poem on
Dialogue: 0,0:05:42.60,0:05:45.82,Default,,0000,0000,0000,,the Peggy Guggenheim as on the police station.
Dialogue: 0,0:05:55.00,0:06:00.78,Default,,0000,0000,0000,,HOLZER: I started doing the projections in \N1996 and have been working on those since.
Dialogue: 0,0:06:02.00,0:06:07.40,Default,,0000,0000,0000,,These are exceptionally powerful \Nprojectors and because they’re so bright,
Dialogue: 0,0:06:07.40,0:06:12.85,Default,,0000,0000,0000,,they let me throw text on rivers of \Nsome size and on giant buildings.
Dialogue: 0,0:06:13.30,0:06:17.36,Default,,0000,0000,0000,,It seems accurate to have the \Ntext legible and so knowable,
Dialogue: 0,0:06:17.36,0:06:22.52,Default,,0000,0000,0000,,and then a second later to disappear \Ninto fractured reflections in
Dialogue: 0,0:06:22.52,0:06:24.44,Default,,0000,0000,0000,,a form that’s almost unrecognizable.
Dialogue: 0,0:06:25.24,0:06:28.20,Default,,0000,0000,0000,,COLE: Can you imagine making art without words?
Dialogue: 0,0:06:29.56,0:06:34.36,Default,,0000,0000,0000,,HOLZER: I’ve done it a few times \Nand it was a pleasure and a relief.
Dialogue: 0,0:06:34.36,0:06:37.14,Default,,0000,0000,0000,,Uh, or done it with very few words.
Dialogue: 0,0:06:37.14,0:06:39.84,Default,,0000,0000,0000,,HOLZER: Do you want to help me pick Orwell pages?
Dialogue: 0,0:06:43.16,0:06:44.24,Default,,0000,0000,0000,,We want to make a…
Dialogue: 0,0:06:44.24,0:06:47.92,Default,,0000,0000,0000,,a print of some of them and then \Nalso make some into paintings.
Dialogue: 0,0:06:47.92,0:06:49.64,Default,,0000,0000,0000,,So I would like your take on it.
Dialogue: 0,0:06:49.64,0:06:50.70,Default,,0000,0000,0000,,COLE: Uh-hm, I see.
Dialogue: 0,0:06:50.70,0:06:54.80,Default,,0000,0000,0000,,HOLZER: Cause I’ve looked at it a few \Ntimes too many and I’m getting blind to it.
Dialogue: 0,0:06:54.80,0:06:55.66,Default,,0000,0000,0000,,COLE: Sure.
Dialogue: 0,0:06:57.64,0:06:58.28,Default,,0000,0000,0000,,HOLZER: Okay.
Dialogue: 0,0:07:00.26,0:07:05.68,Default,,0000,0000,0000,,HOLZER: The Redaction paintings include many \Npages that are almost completely blacked out,
Dialogue: 0,0:07:05.68,0:07:09.12,Default,,0000,0000,0000,,that before the documents were \Nreleased the government blackened
Dialogue: 0,0:07:09.12,0:07:13.48,Default,,0000,0000,0000,,or excised portions for \Nsecurity or unknowable reasons.
Dialogue: 0,0:07:14.23,0:07:16.48,Default,,0000,0000,0000,,HOLZER: You know first I was \Njust going to have these pages
Dialogue: 0,0:07:16.48,0:07:18.52,Default,,0000,0000,0000,,and I thought everybody would get it.
Dialogue: 0,0:07:18.52,0:07:19.52,Default,,0000,0000,0000,,COLE: These four pages.
Dialogue: 0,0:07:19.52,0:07:20.17,Default,,0000,0000,0000,,HOLZER: Yeah.
Dialogue: 0,0:07:20.17,0:07:20.73,Default,,0000,0000,0000,,COLE: I see.
Dialogue: 0,0:07:20.73,0:07:25.20,Default,,0000,0000,0000,,HOLZER: Yeah, but then I thought \Nmaybe including what was in the…
Dialogue: 0,0:07:25.20,0:07:30.04,Default,,0000,0000,0000,,the first of the file and then have \Na number of these dark to light
Dialogue: 0,0:07:30.04,0:07:33.92,Default,,0000,0000,0000,,that we have just a couple \Nof pages with real content.
Dialogue: 0,0:07:33.92,0:07:35.96,Default,,0000,0000,0000,,You know that it says,
Dialogue: 0,0:07:35.96,0:07:41.20,Default,,0000,0000,0000,,“Orwell’s book is one of the few politically \Nclear pictures of the complex situation
Dialogue: 0,0:07:41.20,0:07:42.72,Default,,0000,0000,0000,,during the first year of the war.”
Dialogue: 0,0:07:42.72,0:07:44.76,Default,,0000,0000,0000,,You know so there’s some reference to war.
Dialogue: 0,0:07:47.99,0:07:51.35,Default,,0000,0000,0000,,HOLZER: That’s more than \NI’ve said in twelve years.
Dialogue: 0,0:07:51.35,0:07:52.90,Default,,0000,0000,0000,,COLE: Yeah.\N(LAUGHS)
Dialogue: 0,0:07:54.51,0:07:57.84,Default,,0000,0000,0000,,HOLZER: I’ve only worked with material \Nthat already has been released.
Dialogue: 0,0:07:57.84,0:08:02.03,Default,,0000,0000,0000,,I have not done any Freedom of \NInformation Act request on my own
Dialogue: 0,0:08:02.72,0:08:06.20,Default,,0000,0000,0000,,because there’s so much to sift \Nthrough that’s already out.
Dialogue: 0,0:08:11.14,0:08:14.28,Default,,0000,0000,0000,,HOLZER: I’m dedicated to having \Nplans but then when I get here,
Dialogue: 0,0:08:14.28,0:08:22.17,Default,,0000,0000,0000,,about 50% of what I’ve schemed about \Npertains and the rest is news to me as I go.
Dialogue: 0,0:08:23.96,0:08:29.16,Default,,0000,0000,0000,,We often come thinking that a work \Nwill be a two-pager or a ten-pager.
Dialogue: 0,0:08:29.16,0:08:35.00,Default,,0000,0000,0000,,That, that tends to persist. What \Nwill change often will be colors.
Dialogue: 0,0:08:36.90,0:08:38.72,Default,,0000,0000,0000,,Now these are some of the \Nmore heavily redacted ones
Dialogue: 0,0:08:38.72,0:08:42.91,Default,,0000,0000,0000,,that’ll let us go from almost complete \Nblack down to just a single line.
Dialogue: 0,0:08:44.56,0:08:48.72,Default,,0000,0000,0000,,This was lifted from an...an \Nearly Renaissance painting.
Dialogue: 0,0:08:48.72,0:08:51.36,Default,,0000,0000,0000,,This is a little bit of the \Nsky and you can see the...
Dialogue: 0,0:08:51.36,0:08:53.44,Default,,0000,0000,0000,,the merge from dark to light.
Dialogue: 0,0:08:53.44,0:08:57.44,Default,,0000,0000,0000,,Uhhm, and some of these paintings I \Nthink will have the dark part on top
Dialogue: 0,0:08:57.44,0:09:00.48,Default,,0000,0000,0000,,because it will be a little more \Nominous, a little more oppressive.
Dialogue: 0,0:09:00.48,0:09:04.44,Default,,0000,0000,0000,,And other times we will have the light uh, so.
Dialogue: 0,0:09:05.08,0:09:07.09,Default,,0000,0000,0000,,Yeah, that’s a...a bold one.
Dialogue: 0,0:09:08.14,0:09:11.48,Default,,0000,0000,0000,,This is a letter that’s a \Nfather appealing to the military
Dialogue: 0,0:09:11.48,0:09:15.08,Default,,0000,0000,0000,,so that the son isn’t charged criminally.
Dialogue: 0,0:09:15.08,0:09:18.98,Default,,0000,0000,0000,,So blue seems right. It’s dignified.
Dialogue: 0,0:09:20.32,0:09:21.72,Default,,0000,0000,0000,,Where’s the second page of that Mark?
Dialogue: 0,0:09:37.04,0:09:39.08,Default,,0000,0000,0000,,Let’s get on this part of it.
Dialogue: 0,0:09:40.34,0:09:42.12,Default,,0000,0000,0000,,MARK: You want me to flip it? See how it looks?
Dialogue: 0,0:09:54.70,0:09:57.16,Default,,0000,0000,0000,,HOLZER: Yeah, that looks like dark sky. Yeah.
Dialogue: 0,0:09:58.92,0:10:01.57,Default,,0000,0000,0000,,“I beg of you as a father for my son’s life.”
Dialogue: 0,0:10:05.28,0:10:08.24,Default,,0000,0000,0000,,Most of the paintings are \Nonly three times page size
Dialogue: 0,0:10:08.24,0:10:12.24,Default,,0000,0000,0000,,because I wanted them to \Nrefer to the actual documents.
Dialogue: 0,0:10:12.24,0:10:19.07,Default,,0000,0000,0000,,Other ones I made very, very tall so that \Nthey would be physically overwhelming.
Dialogue: 0,0:10:20.12,0:10:22.32,Default,,0000,0000,0000,,In addition to having all the paintings,
Dialogue: 0,0:10:22.32,0:10:24.52,Default,,0000,0000,0000,,all the still works if you will,
Dialogue: 0,0:10:24.52,0:10:33.44,Default,,0000,0000,0000,,I wanted to have one moving message piece so \Nthat I could include more text than I could in…
Dialogue: 0,0:10:33.44,0:10:34.64,Default,,0000,0000,0000,,in the paintings.
Dialogue: 0,0:10:34.64,0:10:39.28,Default,,0000,0000,0000,,So we had any number of the \Ndeclassified documents transcribed
Dialogue: 0,0:10:39.28,0:10:44.29,Default,,0000,0000,0000,,and we showed them on LED’s \Nso that this would stream by
Dialogue: 0,0:10:44.72,0:10:48.36,Default,,0000,0000,0000,,like more bad news than one can bear.
Dialogue: 0,0:10:54.24,0:10:57.15,Default,,0000,0000,0000,,I’ve always admired Goya’s black paintings.
Dialogue: 0,0:10:59.04,0:11:02.52,Default,,0000,0000,0000,,I’ve been walking up to the \Nblack paintings for so many years
Dialogue: 0,0:11:02.52,0:11:05.84,Default,,0000,0000,0000,,and couldn’t figure out what that meant to me.
Dialogue: 0,0:11:05.84,0:11:10.88,Default,,0000,0000,0000,,And when this material started coming out \Nabout the conflict in Afghanistan and Iraq
Dialogue: 0,0:11:10.88,0:11:15.12,Default,,0000,0000,0000,,and the camps in the Middle \NEast and in Guantanamo,
Dialogue: 0,0:11:15.22,0:11:16.91,Default,,0000,0000,0000,,Goya was at hand.
Dialogue: 0,0:11:18.78,0:11:24.65,Default,,0000,0000,0000,,I do tend to make work that focuses on \Ncruelty and in hopes that people will recoil.
Dialogue: 0,0:11:30.72,0:11:32.24,Default,,0000,0000,0000,,My grandmother was a horse genius,
Dialogue: 0,0:11:32.24,0:11:36.53,Default,,0000,0000,0000,,so I always turn to the ponies to calm myself.
Dialogue: 0,0:11:44.01,0:11:47.12,Default,,0000,0000,0000,,HOLZER: Usually nothing too awful \Nhappens in the barn at night.
Dialogue: 0,0:11:47.12,0:11:49.52,Default,,0000,0000,0000,,And if it does we often can fix it.
Dialogue: 0,0:11:49.52,0:11:51.30,Default,,0000,0000,0000,,What could be more soothing?
Dialogue: 0,0:11:54.32,0:11:57.49,Default,,0000,0000,0000,,And then commentary. (LAUGHS)
Dialogue: 0,0:11:57.84,0:11:59.66,Default,,0000,0000,0000,,I agree, it was about worth that.
Dialogue: 0,0:12:04.52,0:12:07.32,Default,,0000,0000,0000,,I want to be able to continue to work,
Dialogue: 0,0:12:07.32,0:12:11.76,Default,,0000,0000,0000,,to pull from good and ghastly text,
Dialogue: 0,0:12:12.70,0:12:19.03,Default,,0000,0000,0000,,to offer these to people and to present \Nthem in ways that are lovely and exacting.