Jenny Holzer (born July 29, 1950) is an American neo-conceptual artist, based in Hoosick, New York. The main focus of her work is the delivery of words and ideas in public spaces and includes large-scale installations, advertising billboards, projections on buildings and other structures, and illuminated electronic displays. Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, and was an active member of Colab during this time, participating in the famous The Times Square Show. Early life and education Holzer was born on July 29, 1950 in Gallipolis, Ohio. Originally aspiring to become an abstract painter, her studies included general art courses at Duke University in Durham, North Carolina (1968–1970), and then painting, printmaking and drawing at the University of Chicago before completing her BFA at Ohio University, Athens, Ohio (1972). In 1974, Holzer took summer courses at the Rhode Island School of Design, and entered its MFA program in 1975. She moved to Manhattan in 1976, joined the Whitney Museum's independent study program and began her first work with language, installation and public art. She also was an active member of the artists group Colab. Style, form and media Holzer is known as a neo-conceptual artist. Most of her work is presented in public spaces and includes words and ideas, in the form of word art (also known as text art.). The public dimension is integral to Holzer's work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium, although her diverse practice incorporates a wide array of media including street posters, painted signs, stone benches, paintings, photographs, sound, video, projections, the Internet, T-shirts for Willi Smith, and a race car for BMW. Text-based light projections have been central to Holzer's practice since 1996. From 2010, her LED signs started becoming more sculptural. Holzer is no longer the author of her texts, and in the ensuing years, she returned to her roots by painting. Holzer’s only uses capital letters in her work and frequently words or phrases are italicized. She has stated before that this is because she wants to “show some sense of urgency and to speak a bit loudly." Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit