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.
|Publisher:||University of Chicago Press|
|Product dimensions:||6.00(w) x 9.00(h) x 1.00(d)|
Table of ContentsAcknowledgments
Introduction: Background Parameters, and Terminology
1: Semiotics, Materiality and Typographic Practice
2: Visual and Literary Materiality in Modern Art
3: Experimental Typography as a Modern Art Practice
Marinetti: Materiality and Sensation: Mechanical Synaesthesia
Apollinaire: Figuring the Vernacular
Zdanevich: Inachievable Essentialism and Zaum Typography
Tzara: Advertising Language of Commodity Culture
4: Critical History: The Demise of Typographic Experiment