Research point: Notes on the Tate website’s “artist rooms” article about text and language in art. [accessed 30/03/17]
History: first use of text in art
Early 20th century
- Text in art reflected the emerging avant-garde movements of the time.
- Culturally, this period coincided with increased presence of printed work, increased sophistication in marketing/advertising.
- Words, letters and symbols used in art by Francis Picabia (The Fig Leaf 1933), Kurt Schwitters (Mz. 299 1922), Marcel Duchamp (Fountain 1917).
- All these artists associated with Dada movement: rejected traditional art materials, processes and subjects by appropriating found objects, called readymades.
- Duchamp used his pseudonym “R. Mutt” on Fountain 1917; this was a provocative statement about the (changing) role of the artist and the object
- For Duchamp, the artist is someone who rethinks the world and reconstructs meaning through language.
- This thinking paved the way for the emergence of conceptual art as a genre.
- Sol LeWitt coined the term “conceptual artist” in Paragraphs on Conceptual Art 1967.
- Other key players in the emergence of conceptual art: Joseph Kosuth, Art & Language, Hamish Fulton, Richard Long
Text and language in conceptual art
- Use of text, language in art became a way for artists to challenge idea that art = physical object
- By late 60s/early 70s, conceptual art was established as an art movement/category.
- Conceptual art marks shift from art as physical object to art as intellectual concept.
- Duchamp described this as “dematerialization of the art object.”
- Conceptual art marks shift from art as physical object to art as intellectual concept.
- Ed Ruscha, Lawrence Weiner were particularly concerned with language.
- Weiner’s “statements/sculptures” (“Roughly ripped apart”) were typically vinyl lettering applied directly to exhibition surface, however they could be experienced in several forms: writ large on a gallery wall, spoken as a dialogue in video, printed in a book, tattooed on the skin.
- He used language and words to focus on interaction between artwork and “receiver.”
- Statements suggest physical action, instructions to be enacted, manipulation of matter.
- Weiner wanted to offer universal(?), objective(?) experience in which reader can “execute” work through imagination.
- Personal response: Arguably, we’re always completing a work of contemporary art in our imaginations: it’s simply not obvious enough to do otherwise. Without having experienced his work first-hand, I’m struggling to understand what made Weiner different from a poet here. What exactly differentiates his statement “sculptures” (this label feels pretentious to me) from a poet’s verses, other than the gallery context? Don’t all texts seek to somehow engage the imagined reader/target audience? Can’t any text be tattooed on the skin or printed in a book? Feeling resistance/skepticism…
- Ruscha was a conceptual artist who drew heavily from popular culture.
- Saw words as graphic signs, abstract shapes
- His texts (dirty baby) are not instructive but provide humorous reflection on American pop culture, slang, conventions, excesses.
- Weiner’s “statements/sculptures” (“Roughly ripped apart”) were typically vinyl lettering applied directly to exhibition surface, however they could be experienced in several forms: writ large on a gallery wall, spoken as a dialogue in video, printed in a book, tattooed on the skin.
- Bruce Nauman‘s colorful neon text-pieces are playful, self/process-referential.
- In early 70s, he did several illuminated text signs that employed word play (anagrams) and bold color to upset the meaning of everyday phrases, expressions.
- Mario Merz worked with neon texts juxtaposed against everyday objects
- Che Fare (What is to be done)? speaks to the tension around the individual’s engagement in modern society.
- Words appear to be melting into a big pot: symbolic of the “I” disappearing into/subsumed by the collective “we”?
- Che Fare (What is to be done)? speaks to the tension around the individual’s engagement in modern society.
- More recently, Jenny Holzer‘s text works cast a critical eye on modern society, making clever or provocative statements about everyday experiences and emotions.
- Examples:
- Selections from Truisms: A sincere effort is all that you can ask, 2001 (Danby Imperial marble)
- Untitled, 1980-82 (bronze)
- Examples:
- Joseph Beuys identifies as artist, teacher, educator and uses blackboards (often live) to illustrate his lectures/ideas.
- Wants to enact social transformation through his work.
- Personal response: Are his lectures/teachings considered art or, simply, teachings? As with my remark about Weiner’s work above, I feel resistance to the grouping of any creative work that already exists as a profession (teaching, lecturing) under the art umbrella, wonder if I’m missing something. Does everything an artist makes/thinks constitute art? I’m also curious about those chalkboards; how is the integrity of the piece preserved, given the transience of traditional chalk markings?
- Richard Long uses sparse (but evocative, I think) text and similar aesthetics to document his long walks in landscapes all over the world.
- Personal response: I like the way the phrase “the medium is the message” rings true in his work. It’s very true, soft, and poetic to me.
- Ian Hamilton Finlay embraced what to me seems a more classic, natural integration of text in art, particularly sculpture and installations.
- Concerned with how language shapes the world in which we live.
- Little Sparta combines aphorisms, poetry, classical references to literature.
- Personal response: Another example, for me, of the medium matching the message. His work is simple, beautiful, accessible, poetic. I find it very moving, particularly inspired by Little Sparta.
- Cy Twombly was inspired by Mediterranean heritage and referenced classic literature and mythology in his work.
- Blurred line between painting and writing.
Further reading about a selection of above-mentioned artists
- Francis Picabia – http://www.artnews.com/2016/11/17/monster-mash-momas-retrospective-of-the-shape-shifting-provocateur-francis-picabia-is-one-of-the-best-shows-of-the-year/
- Ed Ruscha – http://edruscha.com/
- Jenny Holzer – http://projects.jennyholzer.com/
- Richard Long – http://www.richardlong.org/
- Ian Hamilton Finlay – http://www.ianhamiltonfinlay.com/; https://www.theguardian.com/culture/video/2012/sep/03/ian-hamilton-finlay-little-sparta-video
Terms
- seminal: Strongly influencing later developments.
- factious: Relating or inclined to dissension.
- avant-garde: New and experimental ideas and methods in art, music, or literature; a group of artists, musicians, or writers working with new and experimental ideas and methods.
- Dada: An early 20th-century movement in art, literature, music, and film, repudiating and mocking artistic and social conventions and emphasizing the illogical and absurd.
*All definitions provided by English Oxford Living Dictionaries. [accessed 31/03/17]