The Word Is Art


Book Description

There has been much scaremongering about the 'death of the book', and how, as words find new ways and means of transmission, young people might gradually begin to shun writing. In the digital age, text becomes information, and information strives to become free. But what value can text hold in the sphere of visual art? How is such text different from poetry? Can the poetic itself be visual art, or is text in this context consigned to the realms of gimmick and catchphrase? Looking at the work of a broad range of artists including Bruce Nauman, Julien Breton, Jeremy Deller, Takashi Murakami, Tracey Emin, Christian Boltanski and many more, The Word is Art examines each of these questions, contending above all that in the digital and online age, words have become more important than ever. With the advent of texting and social media, many predicted the debasement of language, and some have pointed to evidence of this in our so-called 'post-truth' culture. Artist Michael Petry demonstrates that, on the contrary, words remain critical, powerful and central to art practice. Digital communication has seen the word as text permeate life in ways that the poets and artists of yesterday could never have imagined. Presenting a brief history of word- and book-based art, and examining major areas where the word has dominated artistic practice, this book takes us on a fascinating and richly illustrated global tour of diverse contemporary art forms. With 250 illustrations in colour




Explodity


Book Description

The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mirskontsa (Worldbackwards) and Vzorval’ (Explodity). In addition, Nancy Perloff examines the profound differences between the Russian avant-garde and Western art movements, including futurism, and she uncovers a wide-ranging legacy in the midcentury global movement of sound and concrete poetry (the Brazilian Noigandres group, Ian Hamilton Finlay, and Henri Chopin), contemporary Western conceptual art, and the artist’s book. Sound recordings of zaum poems featured in the book are available at www.getty.edu.




Image to Word


Book Description

CD-ROM contains the digitized images found in the book.




Art, Word and Image


Book Description

A highly illustrated survey of the use of words (or language) in art. Art, Word and Image asks what it means when a painting is 'invaded' by language - how do the two forms converse and combine, and what messages are intended for the viewer?




Word Into Art


Book Description




The Painted Word


Book Description

"America's nerviest journalist" (Newsweek) trains his satirical eye on Modern Art in this "masterpiece" (The Washington Post) Wolfe's style has never been more dazzling, his wit never more keen. He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. The Painted Word is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).




Objects, Images, and the Word


Book Description

The medieval liturgy was in many ways a performance in which the worshipper was transformed into both actor and audience--an act of intense involvement steeped in spoken words, music, and images alike. Of all these elements, art was arguably paramount: it transformed the physical setting of this ritual, shaped the medieval sense of belief, and guided the faithful toward a fuller comprehension of the word. The complex and always evolving relationship between the liturgy and the wide range of art that it influenced is the subject of the thirteen scholars who present their recent work in this richly illustrated volume. The authors' approaches are as varied as the objects they examine, which range from sumptuous codexes, altarpieces, metal shrines, ivories, and the expansive stained-glass windows of the Sainte-Chapelle to more humble artifacts such as baptismal fonts, choir stalls, and drinking horns. One of the many conclusions that emerge from these essays is that "liturgical art" was far from being a rigidly controlled or formulaic genre. Throughout the Middle Ages it could--and did--respond readily and in nuanced detail to the changing expectations of the devout, the taste and demands of individuals, and even the lingering presence of secular and pagan objects. The contributors are Adelaide Bennett, Elaine C. Block, Lisa Victoria Ciresi, Michael Curschmann, William J. Diebold, Julian Gardner, Alyce A. Jordan, Peter Lasko, John Lowden, Carol Neuman de Vegvar, Harriet M. Sonne de Torrens, Elizabeth C. Teviotdale, and Beth Williamson.




The Art of Description


Book Description

"It sounds like a simple thing, to say what you see," Mark Doty begins. "But try to find words for the shades of a mottled sassafras leaf, or the reflectivity of a bay on an August morning, or the very beginnings of desire stirring in the gaze of someone looking right into your eyes . . ." Doty finds refuge in the sensory experience found in poems by Blake, Whitman, Bishop, and others. The Art of Description is an invaluable book by one of America's most revered writers and teachers.




Word Book


Book Description

Wittgenstein's dictionary for children: a rare and intriguing addition to the philosopher's corpus, in English for the first time "I had never thought the dictionaries would be so frightfully expensive. I think, if I live long enough, I will produce a small dictionary for elementary schools. It appears to me to be an urgent need." -Ludwig Wittgenstein In 1925, Ludwig Wittgenstein, arguably one of the most influential philosophers of the 20th century, wrote a dictionary for elementary school children. His Wörterbuch für Volksschulen (Dictionary for Elementary Schools) was designed to meet what he considered an urgent need: to help his students learn to spell. Wittgenstein began teaching kids in rural Austria in 1920 after abandoning his life and work at Cambridge University. During this time there were only two dictionaries available. But one was too expensive for his students, and the other was too small and badly put together. So Wittgenstein decided to write one. Word Book is the first-ever English translation of Wörterbuch. This publication aims to encourage and reinvigorate interest in one of the greatest modern philosophers by introducing this gem of a work to a wider audience. Word Book also explores how Wörterbuch portends Wittgenstein's radical reinvention of his own philosophy and the enduring influence his thinking holds over how art, culture and language are understood. Word Book is translated by writer and art historian Bettina Funcke, with a critical introduction by scholar Désirée Weber, and accompanied with art by Paul Chan. Ludwig Wittgenstein (1889-1951) was an Austrian-born British philosopher, regarded by many as the greatest philosopher of the 20th century. He played a decisive if controversial role in 20th-century analytic philosophy, and his work continues to influence fields as diverse as logic and language, perception and intention, ethics and religion, aesthetics and culture.




The Visible Word


Book Description

Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.