From the Novel to the Artists’ Book And Back Again (original) (raw)

Typographies beyond the Classroom. New school Typographies through Contemporary Art

The different types of typographies that we find today in the labels of our society lead us to rethink whether the typography that we are taught in school now and observe in school alphabets are functional for students in Elementary Education and Child Education, who later will have to read and to write with a typography that has nothing to do with what they have learned in school. In this paper, we describe a work experience in initial teacher training in which from the disciplines of Educational Process II and Language Teaching II we asked our university students what kind of typefaces they see in society and whether these are also those working in schools with students who are learning to read and write.

From visual to textual : typography in/as conceptual art

2014

Text-Based Conceptual Art and Typographic Discourse I begin this discussion with a quote from Peter Osborne's book on Conceptual Art, where he notes how: At its best, "Conceptual Art was never quite sure where the work was:" because it was never just in one place, or even one kind of place… Making this apparent, in opposition to the monistic materialism of Greenberg's late modernist criticism, was the most critically productive use of written language in the art of the 1960s…However, this does not mean that the visual dimension of linguistic inscription is irrelevant, even when it is the function of such inscription to negate the intrinsic significance of visual form. On the contrary, it is precisely its "unmarked" or neutral visual quality that performs the negation. In… many [artworks] of the period, this was achieved via design decisions associated with "publishing," rather than with "art." 1 This quote is useful, not only because it introduces the emergence of text-based art works within this art historical period and situates them against the shifting critical discourse surrounding art at that time, but also because of the way in which it draws particular attention to typographic language and the activity of publishing as key factors in the ability of these works to, as Osborne puts it, "negate the intrinsic significance of visual form." Retrospective critical accounts of Conceptual Art are numerous and include comprehensive discussion of the motivations behind the adoption of published typographic formats as a means of producing and disseminating art. However, what has surprised me in my own consideration of the works is how these accounts are often supported by poor quality or misleading reproductions, or a failure to cross-reference examples to each other. What this becomes then is a general failure to adequately demonstrate the precise nature and evolution of these works, either by failing to provide a full picture of their operation within this activity of publishing or through not giving a clear impression of the various different typographic 1 Osborne refers here to Terry Atkinson's 1968 article, "Concerning the Article: 'The Dematerialisation of Art.'"

Beginning of Typographic Installation and Contemporary Graphic Creativity

Papers in Arts and Humanities, 2021

Beatrice Warde’s crystal goblet has changed the perception of typography and typographic expression in the print and online media since it was published. “Bear with me in this longwinded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography” (Warde,1956, p. 1). Since 1932, when Warde introduced type and typography as a ‘crystal goblet’, typography has evolved significantly, and probably in the fastest way with the contributions of technological improvements and printing technologies. Typography has proliferated in the early decades of the 20th century as an essential and highly visible aspect of modern art and design. It has also became a production practice in post-modern art in the middle of the 20th century and early 21st century. As it is known, text is not new to art and avant-garde and so is typography. With postmodernism, the usage of text, type and typography in post-modern art practices, contemporary art...