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''You only have to look at Xu Bing's extraordinary A Case Study of Transference to see that language has become a fertile new source of possibilities.'' --The Times
''…plenty of text for thought.'' - Design Week ''An extensive survey of 20th- and 21st-century attempts to use text in modern and contemporary art.'' --New York Times
''If you like your art with a textual feeling then it will be sure to get you in the mood.'' --Grafik Review
''…plenty of text for thought.'' - Design Week ''An extensive survey of 20th- and 21st-century attempts to use text in modern and contemporary art.'' --New York Times
''If you like your art with a textual feeling then it will be sure to get you in the mood.'' --Grafik Review
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The use of written language has been one of the most defining developments in visual art of the twentieth century. Art and Text investigates the use of text in contemporary artistic practice, showcasing the most innovative and groundbreaking examples of how word and image have come to occupy the same artistic terrain in contemporary art. With accessible essays on the relationship between word and image, Art and Text showcases some of the most interesting work from a cross-section of well- and lesser-known artists. Featured artists include Cy Twombly, René Magritte, Barbara Kruger, Kurt Schwitters, Bob and Roberta Smith, Raymond Pettibon, Art and Language, amongst many others. Art and Text is a comprehensive, lavishly illustrated and timely review of the influence of language on art.
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6 of 6 people found the following review helpful
Format:Hardcover
'Art and Text' attempts to provide a survey of recent art that incorporates textual elements or engages in some form of dialogue between textual, visual and conceptual elements. It deals primarily with the last fifty years: in other words, from the Conceptual Art of the '60s to the broadly post- or neo-Conceptualist art of the present day.
The book is arranged in sections. It begins with a set of three brief illustrated essays, by Dave Beech, Charles Harrison and Will Hill respectively. The first offers an historical overview and contextualisation of text-based art from ancient times to the 1950s, with the emphasis on the Modernist period. The second and third essays deal in turn with the Conceptualist and post-Conceptualist periods. The burden of these two pieces is to deal with two possible misconceptions: that text art is identical to or synonymous with Conceptual Art; and that no advance has been made beyond the late '70s work that represented the high-tide mark of the original wave of Conceptualism. If they have a fault it is that the limited space permitted means that they are almost wholly uncritical.
The bulk of the book consists of reproductions of artworks, in full colour except where the originals were monochrome, mainly one to an 11" x 9" page, with a small number of double-page spreads. The reproductions are divided into sections of unequal length: 'Text', 'Context', 'Semiotext', and 'Textuality', each prefaced by a brief statement that attempts to explain the emphasis of that section and the rationale for placing specific works. In total, over a hundred artists are represented. I found the omission of the late '50s work of Johns, Dine and Rivers surprising - these artists are acknowledged, but very much in passing - but otherwise the expected names are present, with all five decades represented.
No attempt is made to group individual artists' work together, and the order of presentation is thematic rather than chronological. I found the sectional division of the artworks rather arbitrary, and I suspect that had the works been presented in chronological order of creation, the argument for the vigour and independence of the later work would have been less convincing.
I was irritated by the physical presentation of the essays, the designer having chosen a small font size and a tricksy paragraphing layout that renders the text unnecessarily tiring to read. Fortunately, this is largely confined to the first 35 pages. In the main body, the captions that accompany each illustration have in some cases been expanded to include comment: but this practice is not followed consistently, so that although additional information may be gleaned, the cumulative result seems random.
Nonetheless, this is a worthwhile acquisition at a keen price, with good illustrations printed on decent 180gsm paper and hard binding. The serious student will wish to supplement the essays, which represent a starting point rather than a definitive accounting. Purchase with confidence.
The book is arranged in sections. It begins with a set of three brief illustrated essays, by Dave Beech, Charles Harrison and Will Hill respectively. The first offers an historical overview and contextualisation of text-based art from ancient times to the 1950s, with the emphasis on the Modernist period. The second and third essays deal in turn with the Conceptualist and post-Conceptualist periods. The burden of these two pieces is to deal with two possible misconceptions: that text art is identical to or synonymous with Conceptual Art; and that no advance has been made beyond the late '70s work that represented the high-tide mark of the original wave of Conceptualism. If they have a fault it is that the limited space permitted means that they are almost wholly uncritical.
The bulk of the book consists of reproductions of artworks, in full colour except where the originals were monochrome, mainly one to an 11" x 9" page, with a small number of double-page spreads. The reproductions are divided into sections of unequal length: 'Text', 'Context', 'Semiotext', and 'Textuality', each prefaced by a brief statement that attempts to explain the emphasis of that section and the rationale for placing specific works. In total, over a hundred artists are represented. I found the omission of the late '50s work of Johns, Dine and Rivers surprising - these artists are acknowledged, but very much in passing - but otherwise the expected names are present, with all five decades represented.
No attempt is made to group individual artists' work together, and the order of presentation is thematic rather than chronological. I found the sectional division of the artworks rather arbitrary, and I suspect that had the works been presented in chronological order of creation, the argument for the vigour and independence of the later work would have been less convincing.
I was irritated by the physical presentation of the essays, the designer having chosen a small font size and a tricksy paragraphing layout that renders the text unnecessarily tiring to read. Fortunately, this is largely confined to the first 35 pages. In the main body, the captions that accompany each illustration have in some cases been expanded to include comment: but this practice is not followed consistently, so that although additional information may be gleaned, the cumulative result seems random.
Nonetheless, this is a worthwhile acquisition at a keen price, with good illustrations printed on decent 180gsm paper and hard binding. The serious student will wish to supplement the essays, which represent a starting point rather than a definitive accounting. Purchase with confidence.
Format:Hardcover
Packed full of everything you need - from brilliantly written essays on the subject, as well as a fantastic blend and mix of the most influential artists.
3 of 7 people found the following review helpful
Format:Hardcover
This is a brilliant book, I am an art student and I don't know how I have survived without it until now! It's such a huge book which I didn't expect as it isn't expensive at all. I would definately recommend!
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