Synopses & Reviews
What does it mean to say that a painting has been andldquo;invadedandrdquo; by language? Art, Word and Image answers this question by exploring how visual images and writing can work in dialogue in an artwork. Whether the picture frame is encroached upon by doodlings, as with Adolf Wolfliandrsquo;s seemingly irrational scribbles, or a plea to spirituality is blazoned across a vast canvas, as in the moving images of Colin McCahon, we can be sure that words here have a special meaning, one beyond everyday communication.and#160;Art, Word and Image, one of the first books to examine the use of language in art, is constructed around three major chronological essays by renowned scholars John Dixon Hunt, David Lomas, and Michael Corris. Their essays chart the use and significance of words in artandmdash;from Classical Greece through the Middle Ages and Renaissance to modern digital media.and#160;
About the Author
John Dixon Hunt is emeritus professor of the history and theory of landscape at the University of Pennsylvania. He is editor of the journal Word and Image and the author of Nature Over Again: The Garden Art of Ian Hamilton Finlay.and#160; Michael Corris is professor of fine art at Sheffield Hallam University. He is the author of Ad Reinhardt. David Lomas is reader in art history at the University of Manchester. He is the author of The Haunted Self: Surrealism, Psychoanalysis and Subjectivity.
Table of Contents
Preface by Michael R. Leaman
Introduction by John Dixon Hunt
Iand#160; The Fabric and the Dance: Word and Image to 1900
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; John Dixon Hunt
and#160; 1and#160; Blake's Illuminated Word
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Joseph Viscomi
IIand#160; 'New in art, they are already soaked in humanity:' Word and Image 1900-1945
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; David Lomas
and#160; 2 Paul Klee as 'Poet-Painter'and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;Jeremy Adler
and#160;and#160;3 Sense and Nonsense in Kurt Schwitters
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;Michael White
IIIand#160; Word and Image in Art since 1945
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Michael Corris
4and#160; August Walla: Devil/God, Image/Text
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Stephen Barber
5and#160; 'The Sound of Painting:' Colin McCahon
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;Rex Butler and Laurence Simmons
6and#160; Revelation in Image and Word: The Apocalypse according to Horst Haack
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Barbara Weyandt
7and#160; Raymond Pettibon: Words and Images
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Hamza Walker
References
Contributors
Select Bibliogrpahy
Photo Acknowledgements
Index