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The Visible Word: Experimental Typography and Modern Art, 1909-1923, by Johanna Drucker
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Early in this century, Futurist and Dada artists developed brilliantly innovative uses of typography that blurred the boundaries between visual art and literature. In The Visible Word, 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 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.
Few studies of avant-garde art and literature in the early twentieth century have acknowledged the degree to which typographic activity furthered debates about the very nature and function of the avant-garde. The Visible Word enriches our understanding of the processes of change in artistic production and reception in the twentieth century.
- Sales Rank: #536593 in Books
- Published on: 1997-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.20" w x 6.00" l, .92 pounds
- Binding: Paperback
- 306 pages
From the Back Cover
Early in this century, Futurist and Dada artists developed brilliantly innovative uses of typography that blurred the boundaries between visual art and literature. In The Visible Word, 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.
About the Author
Johanna Drucker is Breslauer Professor of Bibliographical Studies at the Graduate School of Education and Information Studies at the University of California, Los Angeles.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Visibility in Language and Art Exposed
By Jennifer Dick
In this fabulously demanding book, Drucker traces the development of how we see language, how we conceive of it on the page and canvas, and what the ramifications of that are in the realms of sound and meaning. This very densely written, scholarly text is at each page an explosion of citations and reflections which are the condensation of Drucker's dedicated research (I believe of 10+years!) and her exploration of the movements that define our time of the Word Made Flesh. She will either make you feel like you, too, have done all the work to get to these pages, or lead you off on your own hunt for more. Whichever it is, the journey is well worth the effort.
5 of 6 people found the following review helpful.
Great Book on Typography Art Movements and Literature
By nadja
This is a great book that talks about Typography in the early avant-garde age; Futurism, Dada, Cubism. It discusses the relationship between visual art, typography and poetry. It's a great reference on experimental typography.
0 of 0 people found the following review helpful.
and in excellent condition. I would recommend both the book and ...
By Jim Eigo
This book is important to me for a project I am working on--and when that is the case, I am always a little wary about ordering by mail. Well. the book arrived ahead of time, and in excellent condition. I would recommend both the book and the seller, and will return myself in the future if the seller ever has a book I need. -- Jim Eigo
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