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Author: Paul Stephens
Publisher: MIT Press
ISBN: 026204367X
Category : Art
Languages : en
Pages : 289
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Book Description
An exploration of minimal writing—texts generally shorter than a sentence—as complex, powerful literary and visual works. In the 1960s and 70s, minimal and conceptual artists stripped language down to its most basic components: the word and the letter. Barbara Kruger, Jenny Holzer, Carl Andre, Lawrence Weiner, and others built lucrative careers from text-based art. Meanwhile, poets and writers created works of minimal writing—visual texts generally shorter than a sentence. (One poem by Aram Saroyan reads in its entirety: eyeye.) In absence of clutter, Paul Stephens offers the first comprehensive account of minimal writing, arguing that it is equal in complexity and power to better-known, more commercial text-based art. Minimal writing, Stephens writes, can be beguilingly simple on the surface, but can also offer iterative reading experiences on multiple levels, from the fleeting to the ponderous. “absence of clutter,” for example, the entire text of a poem by Robert Grenier, is both expressive and self-descriptive. Stephens first sets out a theoretical framework for reading and viewing minimal writing and then offers close readings of works of minimal writing by Saroyan, Grenier, Norman Pritchard, Natalie Czech, and others. He “reverse engineers” recent works by Jen Bervin, Craig Dworkin, and Christian Bök that draw on molecular biology, and explores print-on-demand books by Holly Melgard, code poetry by Nick Montfort, Twitter-based work by Allison Parrish, and the use of Instagram by Hans-Ulrich Obrist and Saroyan. Text, it seems, is becoming ever more prevalent in visual art; meanwhile, poems are getting shorter. When reading has become scanning a screen and writing tapping out a text, absence of clutter invites us to reflect on how we read, see, and pay attention.
Author: Paul Stephens
Publisher: MIT Press
ISBN: 026204367X
Category : Art
Languages : en
Pages : 289
Get Book Here
Book Description
An exploration of minimal writing—texts generally shorter than a sentence—as complex, powerful literary and visual works. In the 1960s and 70s, minimal and conceptual artists stripped language down to its most basic components: the word and the letter. Barbara Kruger, Jenny Holzer, Carl Andre, Lawrence Weiner, and others built lucrative careers from text-based art. Meanwhile, poets and writers created works of minimal writing—visual texts generally shorter than a sentence. (One poem by Aram Saroyan reads in its entirety: eyeye.) In absence of clutter, Paul Stephens offers the first comprehensive account of minimal writing, arguing that it is equal in complexity and power to better-known, more commercial text-based art. Minimal writing, Stephens writes, can be beguilingly simple on the surface, but can also offer iterative reading experiences on multiple levels, from the fleeting to the ponderous. “absence of clutter,” for example, the entire text of a poem by Robert Grenier, is both expressive and self-descriptive. Stephens first sets out a theoretical framework for reading and viewing minimal writing and then offers close readings of works of minimal writing by Saroyan, Grenier, Norman Pritchard, Natalie Czech, and others. He “reverse engineers” recent works by Jen Bervin, Craig Dworkin, and Christian Bök that draw on molecular biology, and explores print-on-demand books by Holly Melgard, code poetry by Nick Montfort, Twitter-based work by Allison Parrish, and the use of Instagram by Hans-Ulrich Obrist and Saroyan. Text, it seems, is becoming ever more prevalent in visual art; meanwhile, poems are getting shorter. When reading has become scanning a screen and writing tapping out a text, absence of clutter invites us to reflect on how we read, see, and pay attention.
Author: Annette Gilbert
Publisher: MIT Press
ISBN: 0262543419
Category : Art
Languages : en
Pages : 427
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Book Description
An examination of a series of diverse, radical, and experimental international works from the 1950s to the present. What is a literary work? In Literature’s Elsewheres, Annette Gilbert tackles this question by deploying an extended concept of literature, examining a series of diverse, radical, experimental works from the 1950s to the present that occupy the liminal zone between art and literature. These works—by American Artist, Allison Parrish, Natalie Czech, Stephanie Syjuco, Fiona Banner, Elfriede Jelinek, Dan Graham, Robert Barry, George Brecht, and others—represent a pluralized literary practice that imagines a different literature emerging from its elsewheres. Investigating a work’s coming into being—its transition from “text” to “work” as a social object and pragmatic category of literary communication—Gilbert probes the assumptions and foundations that underpin literature, including the ideologies and power structures that prop it up. She offers a snapshot from a period of recent literary and art history when such central concepts as originality and authorship were questioned and experimental literary practices ranged from concrete poetry and Oulipo to conceptual writing and appropriation literature. She examines works that are dematerialized, site-specific, unique copies of other works, and institutional critiques. Considering the inequalities, exclusions, and privileges inscribed in literature, she documents the power of experimental literature to attack these norms and challenges the field’s canonical geographic boundaries by examining artists with roots in North and South America, East Asia, and Western and Eastern Europe. The cross-pollination of literary and art criticism enriches both fields. With Literature’s Elsewheres, Gilbert explores what art can’t see about the literary and what literature has overlooked in the arts.
Author: yigru zeltil
Publisher: Lulu.com
ISBN: 1365725510
Category : Reference
Languages : en
Pages : 175
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Book Description
The first ""final"" version of a never-ending project, a bibliography of conceptual literature - not just appropriation-based conceptualism, but also relatively ""rigorous"" forms of flarf, concrete poetry and so on. Like the editors of the anthology ""I'll Drown My Book: Conceptual Writing by Women,"" I consider a more inclusive definition. At least in my version (and I invite other people to continue it if they can/want to), there are more than a thousand books and hundreds of authors included from different countries, nationalities, genders - as different as it is possible for now, of course. Authors are sorted alphabetically, books by the same author chronologically. More about the process and about my views on conceptualism can be found in the opening of the book. For free PDF check http: //khora-impex.com/. P.S. The file of v1.0 did not make it through Lulu printers, sorry to those of you who ordered it. This (sadly, b&w) version contains corrections and additions.
Author: Craig Dworkin
Publisher: Information as Material
ISBN: 9781907468247
Category : Art
Languages : en
Pages : 0
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Book Description
Craig Dworkin presents his entire corpus of 13 FACT poems (2005-16) for the very first time in his latest book, Twelve Erroneous Displacements and a Fact (2016).Dworkin's FACT series is an exact list of the ingredients that make up the constituent components of the materials used to inscribe the text of the poem and the object on which its is published, hence the blunt title of the work. It's a self-reflexive, deconstructed meditation on the act of writing and of publishing, with an emphasis on the materiality of language.Each time Dworkin displays the poem he researches the medium on which it's being viewed and changes the contents accordingly. It's a flexible work-in-progress, which has listed the make-up of everything from a xeroxed sheet of paper to compact disc to smartphone touchscreen to dyed wool Himalayan rug. The idea is written on and through the material form.Published on the occasion of the exhibition, Reading as Art at Bury Art Museum & Sculpture Centre (27 August - 19 November 2016)
Author: Craig Douglas Dworkin
Publisher: Information as Material
ISBN: 9781907468124
Category : Artists' books
Languages : en
Pages : 24
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Book Description
'Remember the lessons of literary history. Don't wait for others to validate your ideas. Do it yourself.'Mixing anecdote and advocacy, the first section of this two-part polemical essay offers an introduction to the concealed history of do-it-yourself publishing – as undertaken by some of the most revered writers in the modern Western literary canon, from Laurence Sterne (1713–1768) to Irma Rombauer (1882–1941) via Virginia Woolf (1871–1922) and Derek Walcott (1930–).Having looked back at some of the monuments of literary history, the second section takes its charge from the epigraph, 'Institutions cannot prevent what they cannot imagine', and looks forward to the political praxis of the twenty-first century's digital future.The essay was first commissioned by the Foreword for the London Art Book Fair 2011 catalogue. Translations will soon be available in Spanish and Italian.Accompanying an eponymous solo exhibition at the Whitechapel Gallery, London, April-May 2012; and the Laurence Sterne Museum, Coxwold, August 2012.Limited edition. Do or DIY is created by Craig Dworkin, Simon Morris and Nick Thurston.
Author: Jérémie Bennequin
Publisher:
ISBN: 9781907468261
Category : Altered books
Languages : en
Pages : 0
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Book Description
This is the book published alongside a group exhibition exploring the potential of the act of reading as art.The works included in the exhibition find different means to foreground and to investigate the activity of reading: the forms it can take (silent reading, reading aloud, spontaneous reading, purposeful reading, and so on), the matter of reading (the book, the screen, the space of the page), the bodies that engage in it and the contexts in which it occurs.All of the works are concerned to make reading manifest in some way; in so doing, they each show - differently - how reading is its own form of making.Featuring the work of 13 international artists, including Martin Creed and Pavel B�chler.Published on the occasion of the exhibition Reading as Art at Bury Art Museum and Sculpture Centre, 27 August - 19 November 2016
Author:
Publisher:
ISBN:
Category : Physiology
Languages : en
Pages : 438
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Book Description
Author: Craig Douglas Dworkin
Publisher: Information as Material
ISBN: 9781907468032
Category : Art and literature
Languages : en
Pages : 0
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Book Description
The Perverse Library includes Professor Craig Dworkin's bibliography (2,427 titles), a supplementary bibliography of absent and imagined books, and an accompanying essay arguing libraries are in fact defined not by what they contain, but by what books they exclude or fail to include. The essay also investigates the histories of libraries, makes a theoretical argument about the relation of canons to architectural space, and explores the psychology of collecting – including the pathology of bibliomania: 'He had but one idea, one love, one passion: books. And this love, this passion burned within him, consuming his days, devouring his existence.' Although they present themselves as figures of rational organization, library catalogues and classification systems can only hope to distract from the aberrant chaos they cannot exorcise. Published to accompany the exhibition The Perverse Library at Shandy Hall, Coxwold, North Yorkshire, 4 September – 31 October 2010, curated by Simon Morris.
Author: Simon Morris
Publisher:
ISBN:
Category : Artists' books
Languages : en
Pages : 144
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Book Description
Author: Lindsay Hracs
Publisher: John Benjamins Publishing Company
ISBN: 9027246866
Category : Language Arts & Disciplines
Languages : en
Pages : 285
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Book Description
Emphasizing the necessity for theory-driven language acquisition research, the studies in this collection aim to formalize the kinds of information available to first and second language learners, as well as to shed light on how that information is used to solve a variety of learning problems. The volume pays homage to the scholarly contributions of Susanne E. Carroll, delving into the impact she has had on the field of language acquisition. The central themes of input, evidence, and exposure – found throughout Carroll’s work – are explored in this volume. The contributions cover a range of topics such as the emergence of linguistic theorizing in language acquisition research, the acquisition of grammatical gender, classroom language learning, learning on first exposure, asymmetries between developmental trajectories in first and second language acquisition, and the effects of grammatical complexity on language development.
