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3: Text and Image: Woman Lost 5: Presentation: Zemni 2021 6.2: Colours of Luzon 6.3: Land of DU30 6: JourneyasBeginning Assignment 3: Teetotal Street In Process

David Carson

David Carson (born September 8, 1954) is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, and use of experimental typography.
He worked as a sociology teacher and professional surfer in the late 1970s. From 1982 to 1987, Carson worked as a teacher in Torrey Pines High School in San Diego, California. In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. He art directed various music, skateboarding, and surfing magazines through the 1980/90s, including twSkateboarding, twSnowboarding, Surfer, Beach Culture and the music magazine Ray Gun. By the late 1980s he had developed his signature style, using “dirty” type and non-mainstream photographic techniques.
As art director of Ray Gun (1992-5) he employed much of the typographic and layout style for which he is known. In particular, his widely imitated aesthetic defined the so-called “grunge typography” era.  In one issue he used Dingbat as the font for what he considered a rather dull interview with Bryan Ferry. In a feature story, NEWSWEEK magazine said he “changed the public face of graphic design”.
He takes photography and type and manipulates and twists them together and on some level confusing the message but in reality he was drawing the eyes of the viewer deeper within the composition itself. His layouts feature distortions or mixes of ‘vernacular’ typefaces and fractured imagery, rendering them almost illegible. Indeed, his maxim of the ‘end of print’ questioned the role of type in the emergent age of digital design, following on from California New Wave and coinciding with experiments at the Cranbrook Academy of Art.
In the later 1990s he added corporate clients to his list of clients, including Microsoft, Armani, Nike, Levi’s, British Airways, Quiksilver, Sony, Pepsi, Citibank, Yale University, Toyota and many others. When Graphic Design USA Magazine (NYC) listed the “most influential graphic designers of the era” David was listed as one of the all time 5 most influential designers, with Milton Glaser, Paul Rand, Saul Bass and Massimo Vignelli.
He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers, after which his assistant Christa Smith art directed and designed the magazine until its demise. Carson’s cover design for the first issue was selected as one of the “top 40 magazine covers of all time” by the American Society of Magazine Editors.
In 2000, Carson closed his New York City studio and followed his children, Luke and Luci, to Charleston, South Carolina where their mother had relocated them. In 2004, Carson became the Creative Director of Gibbes Museum of Art in Charleston, designed the special “Exploration” edition of Surfing Magazine, and directed a television commercial for UMPQUA Bank in Seattle, Washington.
Carson claims that his work is “subjective, personal and very self indulgent”.

Bibliography

Carson, David (1995). The End of Print: The Graphic Design of David Carson. Chronicle Books. ISBN 0-8118-1199-9.
Carson, David (1997). David Carson: 2nd Sight: Grafik Design After the End of Print. Universe Publishing. ISBN 0-7893-0128-8.
Meggs, Phillip B.; David Carson (1999). Fotografiks: An Equilibrium Between Photography and Design Through Graphic Expression That Evolves from Content. Laurence King. ISBN 1-85669-171-3.
Stecyk, Craig; David Carson (2002). Surf Culture: The Art History of Surfing. Laguna Art Museum in association with Gingko Press. ISBN 1-58423-113-0.
Mcluhan, Marshall; David Carson, Eric McLuhan, Terrance Gordon (2003). The Book of Probes. Gingko Press. ISBN 1-58423-056-8.
Carson, David (2004). Trek: David Carson, Recent Werk. Gingko Press. ISBN 1-58423-046-0.
Mayne, Thom; David Carson (2005). Ortlos: Architecture of the Networks. Hatje Cantz Publishers. ISBN 3-7757-1652-1.
 
 

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3: Text and Image: Woman Lost In Process

Lawrence Weiner

http://www.artnet.com/artists/lawrence-weiner/

https://www.lissongallery.com/artists/lawrence-weiner

https://www.tate.org.uk/art/artists/lawrence-weiner-7743

https://www.guggenheim.org/artwork/artist/lawrence-weiner

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3: Text and Image: Woman Lost In Process

Ed Ruscha

Ed Ruscha works in a very open-ended way exploiting tension between images and text that often seem rather arbitrary in their juxtaposition, making the viewer make their own connections and interpretations.

His approach is mainly aesthetic – interested in abstract potential of words against abstract design underlying his photographs and paintings. Some commentators on the You Tube videos below have seen this as rather vacuous. What concerns me is the way a focus on ‘cool’ leads to a sort of ‘apathy of the sublime’.

Catalogue Raisonnee of his photography and signage work.

MoMA Painting Words

Rapid but pretty comprehensive visual overview of his work: photobooks, painting and text with comments by other artists.
An extended interview where Ed Ruscha discusses how his work evolved from his early journey from Oklahoma (slow and simple) to LA (fast and furious). His first car journey he produced as the photobook 26 Gasolene Stations influenced by Robert Frank, Walker Evans and Jack Kerouac, His work on the Hollywood sign comes from the time in 1960s when he could see it from his window as a ‘weather report’ of smog levels.
Not sure where ideas come from, but they do. They come. He has to preconceive ideas and puts recognisable things like words and things. Background in abstract painting, type setting and graphic design.
His work is about the tension between images eg landscape, mountain tops and their symbolism ‘not making any noise’ and words that he can overlay in any size. He often uses stencils.
Experiments with gunpowder.
He discusses his photobooks of gasolene stations, parking lots and swimming pools. He describes them as not having any political point, aiming for a cool distance and ‘no style’. But of gasolene stations he also says ‘ what used to be Navaho land now belongs to the white man to put gasolene stations on.’ The work on parking lots and swimming pools seen from a helicopter also point to something (what? Waste? Wealth? Emptiness?) about life in LA.
Discusses the ways he works across media, particularly etchings.
Ed Ruscha discusses his exhibition ‘Course of Empire’ at National gallery of large paintings of sections of buildings in LA at two points in time. The first 1990s in black and white and the second 2004 showing changes. References the paintings of rise and fall of civilisation by Thomas Cole on exhibition at National Gallery at the same time.
He discusses how coincidences happen in the making of a work. He does not think too much about meaning and has a compulsion to make things as an ‘involuntary reflex’ as he gets up in the morning. The words come from movies, things he hears on the radio, overheard conversations, things he reads. ‘Things just come out of the air’. Then viewers make up all sorts of meanings and connections.

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3: Text and Image: Woman Lost In Process

Barbara Kruger

http://www.barbarakruger.com

https://awarewomenartists.com/en/artiste/barbara-kruger/

http://www.artnews.com/2017/11/03/no-uncool-jokers-here-barbara-kruger-debuts-installation-at-les-skate-park/

https://ago.ca/exhibitions/barbara-kruger-contact-2010

Most important element is the political content, making it clear and bold, though often based on enigmatic images and comntradiction.

Short introductory overview.

She works visually with text usually short quotes in bold typeface eg futura, and uses black, white and ‘lipstick’ red, sometimes other bold colours or limited palettes. Sometimes in caps, sometimes lower case and often reversing front and background colours.

Appropriation eg images from 1950s used in 1980s. Silkscreen.

Kruger discusses how she constructs her work – deciding which elements of the image interests her most, then placing text accordingly.
Barbara Kruger discusses her life and work and how it has evolved from magazine cut and paste to large public murals.
Kruger discusses a collaborative project. It is the questions that are important in having a critical view of the world. Whose values, whose hopes and whose fears?
The questions are the important thing. Enjoys putting questins on a buge mural space.

Barbara Kruger (born January 26, 1945) is an American conceptual artist and collagist.[1] Most of her work consists of black-and-white photographs, overlaid with declarative captions, stated in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed text. The phrases in her works often include pronouns such as “you”, “your”, “I”, “we”, and “they”, addressing cultural constructions of power, identity, and sexuality. Kruger currently lives and works in New York and Los Angeles.

Imagery and text[edit]

Untitled (Your body is a battleground), 1989

Belief+Doubt (2012) at the Hirshhorn Museum and Sculpture Garden

Much of Kruger’s work pairs found photographs with pithy and assertive text that challenges the viewer. Her method includes developing her ideas on a computer, later transferring the results (often billboard-sized) into images.[5] Examples of her instantly recognizable slogans read “I shop therefore I am,” and “Your body is a battleground,” appearing in her trademark white letters against a red background. Much of her text calls attention to ideas such as feminismconsumerism, and individual autonomy and desire, frequently appropriating images from mainstream magazines and using her bold phrases to frame them in a new context.

Kruger has said that “I work with pictures and words because they have the ability to determine who we are and who we aren’t.”[15] A larger category that threads through her work is the appropriation and alteration of existing images. In describing her use of appropriation, Kruger states:

Pictures and words seem to become the rallying points for certain assumptions. There are assumptions of truth and falsity and I guess the narratives of falsity are called fictions. I replicate certain words and watch them stray from or coincide with the notions of fact and fiction.[16]

Her poster for the 1989 Women’s March on Washington in support of legal abortion included a woman’s face bisected into positive and negative photographic reproductions, accompanied by the text “Your body is a battleground.”[5] A year later, Kruger used this slogan in a billboard commissioned by the Wexner Center for the Arts. Twelve hours later, a group opposed to abortion responded to Kruger’s work by replacing the adjacent billboard with an image depicting an eight-week-old fetus.[17]

Kruger’s early monochrome pre-digital works, known as ‘paste ups’, reveal the influence of the artist’s experience as a magazine editorial designer during her early career. These small scale works, the largest of which is 11 x 13 inches (28 x 33 cm), are composed of altered found images, and texts either culled from the media or invented by the artist. A negative of each work was then produced and used to make enlarged versions of these initial ‘paste ups’.[18] Between 1978 and 1979, she completed “Picture/Readings,” simple photographs of modest houses alternating with panels of words.[5] From 1992 on, Kruger designed several magazine covers, such as Ms.EsquireNewsweek, and The New Republic.[19] Her signature font style of Futura Bold type is likely inspired from the “Big Idea” or “Creative Revolution” advertising style of the 1960s that she was exposed to during her experience at Mademoiselle.[6]

In 1990, Kruger scandalized the Japanese American community of Little Tokyo, Los Angeles, with her proposal to paint the Pledge of Allegiance, bordered by provocative questions, on the side of a warehouse in the heart of the historic downtown neighborhood.[5] Kruger had been commissioned by MOCA to paint a mural for “A Forest of Signs: Art in the Crisis of Representation,” a 1989 exhibition that also included works by Barbara BloomJenny HolzerJeff KoonsSherrie Levine, and Richard Prince. But before the mural went up, Kruger herself and curator Ann Goldstein presented it at various community meetings over the time period of 18 months.[20] Only after protests did the artist offer to eliminate the pledge from her mural proposal, while still retaining a series of questions painted in the colors and format of the American flag: “Who is bought and sold? Who is beyond the law? Who is free to choose? Who follows orders? Who salutes longest? Who prays loudest? Who dies first? Who laughs last?”.[5] A full year after the exhibition closed, Kruger’s reconfigured mural finally went up for a two-year run.[20]

In 1994, Kruger’s L’empathie peut changer le monde (Empathy can change the world) was installed on a train station platform in Strasbourg, France. One year later, with architects Henry Smith-Miller and Laurie Hawkinson and landscape architect Nicholas Quennell, she designed the 200-foot-long (60 m) sculptural letters Picture This for a stage and outdoor amphitheater at the North Carolina Museum of Art, Raleigh.[5] Between 1998 and 2008, she created permanent installations for the Fisher College of Business, the Broad Contemporary Art Museum at LACMA, the Moderna Museet, Stockholm, and the Price Center at the University of California, San Diego.[21] For a site-specific piece that she produced at the Parrish Art Museum in 1998, Kruger placed across the upper range of the museum’s Romanesque facade stark red letters that read, “You belong here”; below, on columns separating three arched entry portals, stacked letters spelled “Money” and “Taste.”[22] As part of the Venice Biennale in 2005, Kruger installed a digitally printed vinyl mural across the entire facade of the Italian pavilion, thereby dividing it into three parts—green at the left, red at the right, white in between. In English and Italian, the words “money” and “power” climbed the portico’s columns; the left wall said, “Pretend things are going as planned,” while “God is on my side; he told me so” fills the right.[23] In 2012, her installation Belief+Doubt, which covers 6,700 square feet (620 m²) of surface area and was printed onto wallpaper-like sheets in the artist’s signature colors of red, black and white, was installed at the Hirshhorn Museum and Sculpture Garden.[24]

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3: Text and Image: Woman Lost In Process

Ian Hamilton Finlay

http://www.ianhamiltonfinlay.com

https://www.victoria-miro.com/

Wikipedia

Ian Hamilton FinlayCBE (28 October 1925 – 27 March 2006) was a Scottish poet, writer, artist and gardener. Born in Nassau, Bahamas his family moved back to Scotland. At the age of 13, with the outbreak of the Second World War, he was evacuated to family in the countryside. He was educated at Dollar Academy, in Clackmannanshire and later Glasgow School of Art. In 1942, he joined the British Army. He died in 2006 in Edinburgh.

Poetry

At the end of the war, Finlay worked as a shepherd, before beginning to write short stories and poems, while living on Rousay, in Orkney. He published his first book, The Sea Bed and Other Stories, in 1958, with some of his plays broadcast on the BBC, and some stories featured in The Glasgow Herald.

His first collection of poetry, The Dancers Inherit the Party, was published in 1960 by Migrant Press with a second edition published in 1962.

In 1963, Finlay published Rapel, his first collection of concrete poetry (poetry in which the layout and typography of the words contributes to its overall effect), and it was as a concrete poet that he first gained wide renown. Much of this work was issued through his own Wild Hawthorn Press, in his magazine Poor. Old. Tired. Horse.

Finlay became notable as a poet, when reducing the monostich form to one word with his concrete poems in the 1960s. Repetition, imitation and tradition lay at the heart of Hamilton’s poetry, and exploring ‘ the juxtaposition of apparently opposite ideas’.

Art

Later, Finlay began to compose poems to be inscribed into stone, incorporating these sculptures into the natural environment. This kind of ‘poem-object’ features in the garden Little Sparta that he and Sue Finlay created together in the Pentland Hills near Edinburgh. The five-acre garden also includes more conventional sculptures and two garden temples.

In December 2004, in a poll[14] conducted by Scotland on Sunday, a panel of fifty artists, gallery directors and arts professionals voted Little Sparta to be the most important work of Scottish art.[15] Second and third were the Glasgow School of Art by Charles Rennie Mackintosh and The Skating Minister by Henry Raeburn. Sir Roy Strong has said of Little Sparta that it is “the only really original garden made in this country since 1945”.[16]

The Little Sparta Trust[17] plans to preserve Little Sparta for the nation by raising enough to pay for an ongoing maintenance fund. Ian Appleton, Stephen Bann, Stephen Blackmore,[18]Patrick Eyres,[19] Richard Ingleby,[20] Ian Kennedy, Magnus Linklater, John Leighton, Duncan MacmillanVictoria Miro, Paul Nesbitt, Jessie Sheeler and Ann Uppington[21] are trustees.

Hamilton Finlay and George Oliver’s 1973 Arcadia screenprint uses camouflage in modern art to contrast leafy peace and military hardware. He continually revisited war themes and the concept of the Utopian Arcadia in his work.

Finlay’s work is notable for a number of recurring themes: a penchant for classical writers (especially Virgil); a concern with fishing and the sea; an interest in the French Revolution; and a continual revisiting of World War II and the memento mori Latin phrase Et in Arcadia ego. His 1973 screenprint of a tank camouflaged in a leaf pattern, Arcadia, referring to the Utopian Arcadia of poetry and art (another recurring theme), is described by the Tate as drawing “an ironic parallel between this idea of a natural paradise and the camouflage patterns on a tank”.

His use of Nazi imagery led to an accusation of neo-Nazi sympathies and anti-semitism. Finlay sued a Paris magazine which had made such accusations, and was awarded nominal damages of one franc. The stress of this situation brought about the separation between Finlay and his wife Sue.

Finlay also came into conflict with the Strathclyde Regional Council over his liability for rates on a byre in his garden, which the council insisted was being used as commercial premises. Finlay insisted that it was a garden temple.

One of the few gardens outside Scotland to permanently display his work is the Improvement Garden in Stockwood Discovery CentreLuton, created in collaboration with Sue Finlay, Gary Hincks and Nicholas Sloan.

Finlay was nominated for the Turner Prize in 1985. He was awarded honorary doctorates from Aberdeen University in 1987, Heriot-Watt University in 1993[26] and the University of Glasgow in 2001, and an honorary and/or visiting professorship from the University of Dundee in 1999. The French Communist Party presented him with a bust of Saint-Just in 1991. He received the Scottish Horticultural Medal from the Royal Caledonian Horticultural Society[27] in 2002, and the Scottish Arts Council Creative Scotland Award[28] in 2003. Awarded in the Queen’s New Year’s Honours list in 2002, Finlay was a CBE.[29]

Finlay’s work has been seen as austere, but also at times witty, or even darkly whimsical.

He is represented by the Wild Hawthorn Press, the Archive of Ian Hamilton Finlay, which works closely with the Ingleby Gallery (Edinburgh) and the Victoria Miro Gallery (London) in the U.K.

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3: Text and Image: Woman Lost In Process

John Baldessari

http://www.baldessari.org

“What motivates me is the elusive quality if trying to get things right....art is the only thing that gets me close to understanding what the universe is all about.”

John Anthony Baldessari (born June 17, 1931) is an American conceptual artist known for his work featuring found photography and appropriated images. Initially a painter, Baldessari began to incorporate texts and photography into his canvases in the mid-1960s. In 1970 he began working in printmaking, film, video, installation, sculpture and photography.

A short but detailed overview on Baldessari’s art done by Baldessari himself with Tom Waites.

Most of his work plays with combinations and collisions between the narrative potential of images and the associative power of language. Found images are often collaged and worked into/over with stickers or flat coloured paper shapes. Much of the work is concerned with the nature of art in a playful manner. Other work is humorously enigmatic, turning things upside-down to make the viewer aware of how they think and show that there are different ways of understanding things.

He lives and works in Santa Monica and Venice, California.

Baldessari explains his approach to appropriation – no one can own images any more than they can own words. Images are there to be used.

He takes things from everywhere, and can’t throw anything away. It can all be used in art. He uses images from movies a lot. He prints a lot of images out, lays them on a big table and groups them. Some of his work is in grids eg on violence. Some is collage.

In depth discussion of different aspects of his work.

Collage takes things from here and there and puts them together. “Collage is when two things don’t go together too easily. If it’s right there’s a kind of tautness there that if you pull them apart any further it’ll snap. If you get them any closer it’ll be just flabby. But if you can get it just right it’s terrific.”

He is interested in signifiers eg clouds are ephemeral, they change shape and we see things in them.

The important thing is to hold the audience’s attention eg image of table and shark. Things must be dissimilar enough to be intriguing.

He often plays with different ways of combining text and image. In his Prima Face series he produced large square diptychs of image and text. In the first ones he just put simple captions that described the colours of the image. The next he put captions that made assumptions about the meaning of peoples’ expressions. The third he put opposing interpretations of expressions for the viewer to choose. The next he put a list of synonyms and so on…

Some of his best known work is where he puts flat coloured cutout shapes on photographs eg people climbing up buildings. The bits he cuts out are those elements that people are most interested in, thus focusing on things we do not normally notice. One body of work are photographs of civic officials at events where he covers their faces with round coloured shopping stickers to focus on their postures instead of faces.

Some of his recent work uses vibrant colour and takes a more low relief 3D approach to collage.

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3: Text and Image: Woman Lost In Process

Bob and Roberta Smith

Make Art not War https://www.tate.org.uk/art/images/work/T/T12/T12561_10.jpg

Fluxus Movement

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3: Text and Image: Woman Lost In Process

Jan van Toorn

http://www.eyemagazine.com/review/article/we-need-a-hero