#WordWeek: AnOther's Top 10 Word Artists | AnOther
The relationship between words and images is an important element of design. • The simplest Words and images may correspond to (match with) one another. This contradiction was explored by artist Rene Magritte: of text and image. By the time artist Henry Flynt established the term “concept art” in an essay in , Kruger's works are antagonistic, merging image and text and Like Duchamp, Creed's point is that it is the objects' relationships to each. By focusing on the relationship between texts and images, this .. This second strand asserts that artistic aesthetic unites the various forms of.
She is at work on a collection of graphic essays. Artists who collaborate with Creative Nonfiction generally read the essays first, then come up with their illustrations. How did this process work for you?
Text and Image
I read each essay until a specific image struck me as possible to translate into an illustration, then took note and came back to choose which I thought might be most representative. Did certain phrases or ideas stick out?
- At Angela Meleca Gallery, Seven Artists Explore the Relationship between Word and Image
Do you have a favorite essay in this issue? I enjoyed all of the essays, but I think that the self awareness and movement between introspection and scene in Mary Helen Kennerly's "Shacked Up" is masterful.
At Angela Meleca Gallery, Seven Artists Explore the Relationship between Word and Image
I find writing pretty exhausting. Drawing started as a way to clear my head when I couldn't write anymore. I loved the relationship between text and image in really masterful graphic and multimedia essays, and the ways in which they complicated one another.
I think the best visual and literary art works to communicate and convey an argument or idea. Every artist is probably working at driving something out. Do you see a theme or recurring thing that you're driving out?Artist Illustrate What Every Long-Term Relationship Is Like
Not necessarily just in your work with CNF, but in your body of graphic creations as a whole? I'm working on a collection of graphic essays about aftermath and abandoned places, so I find myself really drawn to how we as humans address and deal with decay and change, and how we're working to sustain life through the things we create in the wake of that change. Do you think there's something about your ideas or the things you're interested in that necessarily can't be expressed with text only?
In other words, do some ideas demand a multimedia approach?
The Relationship Between Text and Image
This is something I've been thinking about for a long time. Evans created complicated arenas in which our attention caroms from verbal to visual and back, making us aware that both are describers of and not substitutes for experience or knowledge.
They surround meaning like wolves running around sheep, eyeing but not reaching their prey. At this time an increasing number of artists began to consciously combine text with their imagery to widen the discourse of the critics. As her title suggests, she was interested in theoretical issues concerning photography as a purveyor of truth, but she also was, and is, more concerned with the practical matter of distorting or ignoring social truths.
Placing words and images in the same perceptual space is not as easy as it looks. The artist has to keep track of four phenomena, not just the apparent two.
First, the words have accepted, coded meanings and contexts that affect what we see in the adjacent images. Second, the words invoke mental images that might also conflict with what we see.
Conversations: Text and Image | Museum of Contemporary Photography
Third, images have meanings and contexts that may alter our engagement with the adjacent words. Fourth, images can call up words in the mind of the viewer. By the late s and early s combining words and photographs had become a genre of art photography with wide and varied practice, ranging from simply writing on photographs to the first experiments with digital collaging of word and image.
This caused some of the work to be opaque to the general art consumer. Jim Goldberg solved this problem by inviting the subjects of his Rich and Poor series to write directly on the paper that contained their own image, a practice common in the non-art world since the introduction of the Kodak No. Jeff Wolin invades, or perhaps violates, the photographic space by writing extensive commentary of his own over images of his family and other evidence of his life experience.
The shock that we feel seeing his dense writing seems like clear evidence of our confidence in the power of the photograph to communicate by itself. Wolin is the other end of the spectrum from the publications of Robert Frank, Lee Friedlander, and Walker Evans, where the photographs are carefully isolated from any kind of caption.