Serie Viviendo | Obras | Guggenheim Bilbao Museoa
Jenny Holzer
Living: It can be startling to see someone’s breath…, 1989

Bethel White granite bench
43.2 x 91.4 x 45.7 cm
Text: Living (1980–82)
© 2019 Jenny Holzer, member Artists Rights Society (ARS), NY/ VEGAP
Guggenheim Bilbao Museoa

Serie Supervivencia | Obras | Guggenheim Bilbao Museoa
Jenny Holzer
Survival: Let your hand wander…, 1989

Indian Red granite bench
106.7 x 43.2 x 45.7 cm
Text: Survival (1983–85)
© 2019 Jenny Holzer, member Artists Rights Society (ARS), NY/ VEGAP
Guggenheim Bilbao Museoa


“I didn’t want people to have to stand to read my texts on electronic signs. I wanted people to be comfortable, and to take time to look. So I thought to provide benches, and it came to me that I could put writing on the seating, and the benches should be stone.” —Jenny Holzer

For more than forty years, Jenny Holzer (b. 1950, Ohio) has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions. Her medium, whether formulated as a T-shirt, a plaque, or an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and continuing through her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and courage.

In the mid-1980s the artist began making stone benches, similar to those one might encounter in city parks or cemeteries. Of her work in stone, Holzer has said, “I appreciate and depend on the ephemeral and disembodied—and on solid rocks. … When words are carved in stone, they can be touched, they can be read with the hand, they might be perceived differently than when on the page. Marble and granite lock time while electronic signs and projections signal differently. Rows of benches might have people imagine waiting rooms, courtrooms, hospitals, and churches, for better and worse.”

Holzer invites everyone to sit on the benches, creating a communal and commemorative experience that offers a place for contemplation or group discussion. Unlike most art in a museum space, the works are functional and meant to be used. Holzer works with many kinds of stone and carefully selects materials that suit the engraved texts.

The benches here derive their inscriptions from two different bodies of text:

Survival, which Holzer wrote from 1983–85, is a cautionary series where each single sentence instructs, informs, or questions the ways an individual responds to his or her political, social, physical, psychological, and personal environments. The sentences are short and pointed so as to be easily available to passersby. PROTECT ME FROM WHAT I WANT is a key Survival text.

In the Living series, from 1980–82, the messages have a less urgent tone. Here, Holzer presents a set of quiet observations, directions, and warnings. The Living texts are written in a matter-of-fact, journalistic style suited to descriptions of everyday life. These are commentaries on how the embodied individual negotiates landscapes, persons, rules, expectations, desires, fears, other bodies, and the self.



Look closely at this artwork. How would you describe it? What features call your attention? If you were to explain the work to a friend, how would you do that? What would you emphasize? Have you seen a similar work of art before? Where?

What material is it made from? What are the characteristics of the material? What physical or emotional qualities does it suggest to you? Where can you find things made out of the same material? What does it remind you of? Why do you think the artist is interested this particular material?

In addition to inviting the viewer to look at and contemplate the work, Holzer’s pieces are functional and meant to be used. Sit on one of the benches. How do you feel about them? What types of sensations do you get from sitting on top of an art piece? What senses are stimulated while interacting with this piece? Have you interacted with an artwork in this way before? How is this art piece similar to or different from other works in the museum? Would your perception of the work change depending on the way it is exhibited? How? And what if you saw it on the street instead of in a museum?

Read the text on the bench. Holzer has said an aim with the stone was “to have the look of a voice of authority, of the establishment.” Do you think she accomplished this? How? For Holzer, when words are carved in stone, “they can be touched, they can be read with the hand, they might be perceived differently than when on the page.”[1] Do you agree with her statement?

Compare the pieces Living: It can be startling to see someone’s breath…, 1989, and Survival: Let your hand wander…, 1989. In what way they are similar? What are the differences between them? Do you perceive the messages carved in the benches differently? Why?


Create a fictitious proposal for the city council to install your art piece, inspired by Jenny Holzer’s bench, in a public space.

Jenny Holzer’s benches are seen not only in museums but also in public places like parks and squares. In Google Images you can find some examples to inspire your work.

  1. To start your project, think of a pressing issue that is important to you or your community. It can be related to the environment, safety, health, opportunities, etc. Write a short text to teach about, or question, the way people respond to this issue.
  2. Think of a public space in your community that is visited regularly by multiple people and would be a good place to display your message. Go there and take some photograph of it (if the place is not accessible look for a photograph online). Once you have the photos, upload them on a computer and import them to an imaging program such as Microsoft Paint or Adobe Photoshop.
  3. Next, either in a computer or with paper and pencil, design a model of a bench that you believe would enhance this space in some way. Think about how the chosen location would interact with the proposed art piece.
  4. In one of the imaging programs digitally place your bench onto the photograph of the location, or print a photo and draw it directly on it. Write your phrase on the bench.
  5. To finalize your project create a folder to explaining your proposal: write the reason why you picked the location and in a few paragraph justify your idea. Add your photographs of the bench.

In your proposal you should answer the three following questions:

  • Why is it important that people pay attention to the issue you are presenting?
  • Why would you like to show the piece is that particular space?
  • How do you expect people to react to it?
  1. Present your project in class and discuss the different ideas that emerged with your classmates.

Write a short essay: “Protect me from what I want”

The texts in Jenny Holzer’s Survival series have appeared in different mediums, such as benches, posters, billboards, and even condoms, and as LED signs and monumental light projections. Holzer’s use of language is designed to agitate and disturb, to make the viewer question concepts such as power, desire, and fear. One of her most famous phrases, PROTECT ME FROM WHAT I WANT,” was displayed on an electronic sign in New York’s Times Square in 1985–86. Write a short essay titled “Protect me from what I want.” Make a list of questions you think you should answer in your essay before you start writing. Share your story with your class. Were the topics repeated?


LED: A light-emitting diode (LED) is a semiconductor light source that emits light when current flows through it.