Jane Rendell states that in mode of analysis photograph plays
essential roles in art works. She put it in the position of between modes of
writing which is apparently objective and subjective which are series of
childhood memory.
Also Nostalgia provides a perfect view of the past so Doren
Massay Massey argues that nostalgic attitudes work to trap those close to us in
our romanticized memories of them.
Benjamin's work on allegory, has pointed out that looking
back to a past because it appears to be better than the problems if the present
is not necessarily regressive, especially if 'nostalgia as a political
motivation ... Conscious of itself' can be used to change the future.
The manipulation of language and typography is the primary
ingredient that distinguishes our work from that of illustrators, who deal
exclusively with imagery. (Burdick, 1993)
Leslie Ross examines written texts that appear in visual imagery
and visual imagery that consists of written words, from inscriptions in
Renaissance paintings, to words in medieval art, to contemporary language-based
art. She discusses word/picture combinations in which texts and images are used
in conjunction with each other to clarify or give information, such as
initials, labels, and "speech scrolls" in medieval manuscripts;
examples where texts and pictures create puzzles, such as in the cartellino,
trompe l'oeil paintings, and images superimposed on grids or patterns
containing words; intellectual and visual challenges in 20th-century art like
that of Reneé Magritte, cryptic and enigmatic letters and phrases in late
medieval manuscripts, and forms that emulate foreign or ancient writing
systems; the creation and display of texts without accompanying pictorial
imagery in 20th-century art by Edward Ruscha, Robert Indiana, Guillaume
Apollinaire, John Baldessari, Joseph Kosuth, Xu Bing, and others. (Leslie Ross,
2014)
Key words: It is relationship between objects and meanings. /
Language communication/ Different zhanra / Memory and writings
1.
How does Jane Rendell account for the approach taken in ‘The Welsh Dresser: An
Atlas’? What is the overall impact of this text, for you?
We have some memorable stuff
that helps us to find ourselves in our childhood.
Jane Rendell, selected the
structure of the dresser in a sentimental way and she analysed and displayed
her feelings about that Welsh dresser and all things that have been contained
within it. They remind her all her childhood memories.
2.
What is the significance of Rendell’s reference to Joseph Kosuth’s work ‘One
and Three Chairs’ (1965)? What commentary do Kosuth’s and Rendell’s works make
about language?
The Welsh Dresser can be like Kosuth`s work which was which
appreciates the real object, image and the definition of the word chair in
writing. All three are chairs or codes for one: a visual code, a verbal
code, and a code in the language of objects, that is, a chair of
wood. So she added dictionary definitions of the objects plus theoretically
inflected notes.
"The art I call
conceptual is such because it is based on an inquiry into the nature of
art," Kosuth has written.
3. What other examples
of works can you identify that intentionally work across both visual and
written language? How does the interplay between text and image affect the
meaning of the works?
I think branding products is one example of visual and
contextual internationally work. Visual brand language is the unique
"alphabet" of design elements – such as shape, colour, materials,
finish, typography and composition – which directly and subliminally
communicate a company's values and personality through compelling imagery and
design style. Also it can be determined
as the main visual and written works that complete each other.
A mode of analysis which restricts itself to the evidence of
the text may not as bell puts it, “By itself demonstrate how viewers understand
and value what they see or hear. On the other hand text analysis can show what
representation include and exclude, what they prioritize and make salient and
what differences they construct between different people, place and things. (Van Leeuwen & Carey Jewitt, 2001, pp.7)
4. Pick one of the
themes you have enjoyed from Rendell's text that you can relate to your own
creative practice, and use this as a starting point to identify one more
credible research text, that can help you to think about your own relationship
with writing as part of your practice or discipline.
