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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.

grafische- en reclamevormgeving --- grafisch ontwerp --- grafisch design --- typografie --- geschiedenis --- kunst --- kunst en typografie --- futurisme --- dadaïsme --- kubisme --- Marinetti Filippo Tommaso --- Apollinaire Guillaume --- Tzara Tristan --- Zdanevich Ilia --- 766.03 --- 766.02 --- 766.01 --- 7.037 --- Art and literature. --- Art, Modern --- Art, Modern. --- Avant-garde (Aesthetics) --- Avant-garde (Aesthetics). --- Printing --- Printing. --- Type and type-founding --- Type and type-founding. --- History --- 1900-1999. --- 684.3 --- conceptuele kunst --- literatuur en kunst --- typografisch ontwerpen - typografisch tekenen - letters en drukvormen

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Vercammen, Wout --- 7.071 VERCAMMEN --- performances --- abstracte schilderkunst --- kunst en typografie --- Vercammen Wout --- Beeldende kunst ; 1956-2014 ; Wout Vercammen --- Beeld en woord ; beeld en tekst --- Humor in de kunst ; ironie --- Typografie ; in de kunst --- Tentoonstellingscatalogi ; Antwerpen ; Museum van Hedendaagse Kunst (M HKA) --- Vercammen, Wout °1939 (°Antwerpen, België) --- Schilderkunst ; schilders --- Kunstgeschiedenis ; 1950 - 2000 --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- grafiek --- concept art --- conceptuele kunst --- woord en beeld --- happenings --- abstractie --- kunst en politiek --- typografie --- schilderkunst --- België --- 7.07 --- 75.07 --- 7.038 --- Belgische kunstenaars --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Exhibitions --- Art [Modern ] --- 20th century --- Belgium --- 21st century --- MAD-faculty 16 --- hedendaagse kunstenaars --- Art, Belgian --- Arts and society --- Social problems in art --- Vercammen, Wout,

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LetterScapes is a tribute to the power of type writ large. A global survey of one of the most creative areas of public art – 
large-scale typographic installations – featuring work by 
nearly forty practitioners. Today we are bombarded with words – public spaces are saturated with a discordant mix of messages. But sometimes a sentence, a word or even a single letter can stop us in our tracks. LetterScapes features thirty-seven such works from all over the world, by artists and designers with large international followings. Photographs, maps and diagrams explore each project in detail, and an introduction highlights the cultural importance and common themes of the works featured. Interviews with key designers provide a personal insight into why they chose words over images to transmit their message, how the locations for their work are chosen, how they selected the material and the typeface, and how they think their work connects with its particular landscape or setting.

Installations (Art) --- Public art spaces --- Site-specific installations (Art) --- Type and type-founding in art --- Words in art --- 684.3 --- land art --- typografie --- 7.039 --- 766.021 --- Ahn Sang-Soo --- Ashton Raggatt McDougall --- BBPR --- Behar Roberto --- Bierut Michael --- Brossa Joan --- Cardozo Kindersley Workshop --- Carter Paul --- Caruso St John --- Chermayeff & Geismar --- de Harak Rudolph --- de Reus Maarten --- di Sciullo Pierre --- eenentwintigste eeuw --- Estudio SIC & Buj+Colón --- FA+ --- Finlay Ian Hamilton --- grafisch design --- grafische vormgeving --- grafisch ontwerp --- Griffiths Catherine --- Indiana Robert --- installaties --- Intégral Ruedi Baur --- Kabakov Ilya --- Kindersley Richard --- Knip René --- Kovács Attila F --- kunst --- kunst en typografie --- Lin Maya --- Marquardt Rosario --- Martens Karel --- Nordenson Guy --- Parsons Anton --- Pentagram --- Quennell Rothschild --- Scher Paula --- Smith-Miller+Hawkinson --- Subirachs Josep Maria --- twintigste eeuw --- Weiner Lawrence --- Why not associates --- woord en beeld --- Young Gordon --- 766:655.26 --- Gevelbekledingen ; met letters, woorden, teksten --- Grafische vormgeving ; typografie ; wandvullende --- Installaties ; typografische --- Typografie ; tweedimensionaal ; driedimensionaal ; in de stad --- Wanden ; muren ; gevels ; met grafische tekens --- Site-specific art --- Art spaces, Public --- Public art sites --- Public spaces --- Installation art --- Art, Modern --- Environment (Art) --- typografisch ontwerpen - typografisch tekenen - letters en drukvormen --- Gebruiksgrafiek ; typografie ; grafische vormgeving ; esthetica --- Typografie --- Estudio SIC & Buj+Colón --- Intégral Ruedi Baur --- Knip Ren&#xE9 --- Kovács Attila F --- 766.21.039 --- Grafische industrie en ontwerp ; schrift ; kalligrafie & lettering ; 2000 - 2050