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001382565 001__ 1382565
001382565 003__ OCoLC
001382565 005__ 20220105003328.0
001382565 008__ 970403r19961994ilua\\\\\b\\\\001\0\eng\d
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001382565 049__ $$aISEA
001382565 05014 $$aZ124$$b.D78 1996
001382565 1001_ $$aDrucker, Johanna,$$d1952-
001382565 24514 $$aThe visible word :$$bexperimental typography and modern art, 1909-1923 /$$cJohanna Drucker.
001382565 250__ $$aPbk. ed.
001382565 260__ $$aChicago :$$bUniversity of Chicago Press,$$c1996, ©1994.
001382565 300__ $$aviii, 298 pages :$$billustrations ;$$c23 cm
001382565 336__ $$atext$$btxt$$2rdacontent
001382565 337__ $$aunmediated$$bn$$2rdamedia
001382565 338__ $$avolume$$bnc$$2rdacarrier
001382565 500__ $$aOriginally published: 1994.
001382565 504__ $$aIncludes bibliographical references (pages 273-287) and index.
001382565 5050_ $$aIntroduction: background, parameters, and terminology -- Semiotics, materiality, and typographic practice -- Visual and literary materiality in modern art -- Experimental typography as a modern art practice -- Critical history: the demise of typographic experiment.
001382565 520__ $$aEarly 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.
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001382565 650_0 $$aPrinting$$xHistory$$y20th century.
001382565 650_0 $$aType and type-founding$$xHistory$$y20th century.
001382565 650_0 $$aArt, Modern$$y20th century.
001382565 650_0 $$aArt and literature.
001382565 650_0 $$aAvant-garde (Aesthetics)$$xHistory$$y20th century.
001382565 650_7 $$aArt and literature.$$2fast$$0(OCoLC)fst00815400
001382565 650_7 $$aArt, Modern.$$2fast$$0(OCoLC)fst00816615
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001382565 655_7 $$aHistory.$$2fast$$0(OCoLC)fst01411628
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