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ABOUT
This exhibition catalog is a collection of works that capture the shift in the art
world witnessed in the 1960s with the emergence of expression through semantic content, utilizing the intellectual software of visual language as well as the structural hardware.
The works within the catalog address the deconstruction of verbal language as a filter or bias that inescapably manipulates the reader’s response, making words the new material and emphasizing on what lies under the surface, positioning meaning at the forefront.
The catalog focuses on the artists/designers who embraced and justified the intellectualization of the object, such as Joseph Kosuth, Ed Ruscha, John Baldessari, Mel Bochner, among others.
Text as art explores what lies beyond the self-conscious or the self-critical and opens up a new array of possibilities characterized by lack of objectivity instead enhancing the objective with deferred meanings, hidden stories, and alternative interpretations.
Text as art aims to achieve more with less in its emphasis on multiplicity over singleness and rejection of autonomy by limiting the amount of information revealed and therefore limiting the extent of formal analysis possible, propagating a kind of visual art that is less visual in its approach.
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COVER DESIGN: TAUTOLOGY
Tautology as a strategy/literary device.
A defining characteristic of Conceptual Art.
What is tautology?
It is the proposition which is necessarily true; stating its truth thus conveys no information.
A circular statement may be tautological
in that its very form guarantees its truth.
The back and the front cover both express tautological statements relevant to
the way the viewer will read.
FRONT: "You read this upside down"
BACK: "You don't just read upside down"
(as the viewer is also reading from right to left)
Both statements address the experience
true to the viewer.
THE PAGE NUMBERS!
The catalog draws attention to the simple
act of looking and seeing.
The page numbers in the catalog are written using numericals as well as letters, requiring the viewers attention to grasp what would otherwise be looked at within seconds and forgotten.
To learn to see – to accustom the eye to calmness, to patience, and to allow things to come up to it; to defer judgement, and to acquire the habit of approaching and grasping an individual case from all sides. This is the first preparatory schooling of intellectuality. One must not respond immediately to a stimulus; one must acquire a command of the obstructing and isolating instincts.
- Friedrich Nietzsche
COLLATERALS: TICKETS, POSTER & TSHIRTS
SOCIAL MEDIA CREATIVES
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