The Visible Word – Experimental Typography and Modern Art, 1909–1923
Seiten
1997
University of Chicago Press (Verlag)
978-0-226-16502-8 (ISBN)
University of Chicago Press (Verlag)
978-0-226-16502-8 (ISBN)
Early in this century, Futurist and Dada artists developed brilliantly innovative uses of typography that blurred the boundaries between visual art and literature. In this text, Johanna Drucker shows how later art criticism has distorted our understanding of such works. She argues that Futurist, Dadaist, and Cubist artists emphasized materiality as the heart of their experimental approach to both visual and poetic forms of representation; by mid-century, however, the tenets of New Criticism and High Modernism had polarized the visual and the literary. Drucker suggests a methodology closer to the actual practices of the early avant-garde artists, based on a re-reading 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.
Johanna Drucker is the Martin and Bernard Breslauer Professor in the Graduate School of Education and Information Studies at the University of California, Los Angeles. She is the author of several books, including Sweet Dreams: Contemporary Art and Complicity, also published by the University of Chicago Press.
| Erscheint lt. Verlag | 9.1.1997 |
|---|---|
| Sprache | englisch |
| Maße | 156 x 226 mm |
| Gewicht | 472 g |
| Themenwelt | Kunst / Musik / Theater ► Allgemeines / Lexika |
| Kunst / Musik / Theater ► Design / Innenarchitektur / Mode | |
| Kunst / Musik / Theater ► Kunstgeschichte / Kunststile | |
| Informatik ► Grafik / Design ► Desktop Publishing / Typographie | |
| ISBN-10 | 0-226-16502-7 / 0226165027 |
| ISBN-13 | 978-0-226-16502-8 / 9780226165028 |
| Zustand | Neuware |
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