Words: Seen or Read?

London Art Worlds: Katherine Belgrad | Laura Baltzer | Emily Jun

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Welcome

Hello, and welcome to our blog! Exploring the dynamics between words, art, and the society around us, we will use this as a medium to write about the parallels we find between a basic element of speech (a word) and what we perceive to be a basic element of creative communication (art). Raising questions and noting observations, we will attempt to further our interests regarding how these two concepts interact with one another and to our surroundings. 

We hope you enjoy, Katie, Laura, and Emily

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Words. The units of speech that somehow articulate our thoughts. The vehicle through which we are writing these very sentences and reading these very phrases. Words function as such a common currency to our society today that it would be hard to imagine a structured civilisation without their existence. What is it that makes words so inherently fundamental to our everyday lives?  The fact that they are so expressive. They evoke emotion,  they communicate feeling, they manifest reaction, they encourage sentiment,  they produce consequences. As expressive building blocks to how we perceive and respond to our surroundings, words are an imperative force with an often underestimated weight. Because words are so expressive, it only makes sense to connect them to another form of fundamental human expression: art. By simply looking at the words that are brought to mind after reading a favourite poem, it is easy to see a visual image appear in one’s mind—a fleeting scene, a poignant colour, a comforting room. The effect words have on art and art has on words is a relationship that can be better explored and dissected. In the image above we see two words that form onomotapoeia, the sounds of a working clock. The ‘T’s have been turned into a grandfather clock’s pendulums, and the simple modifications made through this graphic art express and give life to the meaning behind an already suggestive sound.

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Words in Sounds: Janet Cardiff

Expanding on the previous notion that words function as an expressive means of transport, I will examine words in their sound form, investigating questions such as how do we pick up on fragments of sound? And what is the importance of context to how we respond to what is being communicated to us? Finding Janet Cardiff’s work extremely interesting, the “sculptural soundscapes” that she creates by mapping a out a world over a pre-existing one raises questions about how we perceive reality through word usage. Though her physical presence is unfelt, her audio presence is nearly tangible. The sounds she attaches to the track in addition to her voice produce a complex overlapping of not only sounds, but meanings through the words she conveys. Depending on the subject’s context, however, these meanings are liable to change. I believe we pick up on fragments of sound through the contextual clues we are faced with. One fragment of sound compared to another fragment can have two completely different connotations; the heard words are contingent on the specific social and historical structures we are surrounded by. Attached is a link from one of Cardiff’s audio soundscapes called “Her Long Black Hair,” in which sounds of the city, the murmur of its people, and Cardiff’s leading voice guides you through a fictitious reality that is at once thrilling and unnerving. Click on the excerpts to experience how words function as expressive meanings of sound and through certain frames of reference.

http://www.cardiffmiller.com/artworks/walks/longhair.html

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Words That Change How we See

In the famous museums and institutions of art in addition to the words in paintings and set up as a display, there are other quieter communicators that often go unnoticed. Next to such works as “Bathers at Asnieres” by Seurat, “Sunflowers” by Van Gogh, “The Fighting Temeraire” by Turner, and countless others there hangs the ubiquitous label. Sometimes giving us a small thematic explanation of the piece and sometimes only the name and year, the label hangs by nearly every piece of art in every institution. These words are a background, a setup for the main show that is beside them. Though they seem unimportant in light of the great works of art next to them, they are actually an integral part of the way that visitors to the museum interact and view the piece before them. There is a level of authority to these plain words that we may not recognize. When we read the words before us set in such official type in their lacquered frame we also take the words as law. Especially for the casual viewer of art, who may be unaware of how to communicate with the painting in any other way. The words have a power over the reader exactly because they seem so innocuous. We imbibe the words as fact without questioning what changes they impose on our view of the painting. Even though they seem less powerful than what is beside them, they actually have incredible influence. 

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The Words We Forget

What is the difference between a word that wants to be read and a word that wants to be seen? There is no better place to attempt to discover all of the possible answers to this impossible question than a city. Words are a byproduct of society and socialization and the city is a mecca for both of these. In London, words are as plentiful as concrete and as vital as air. Words shock you, charm you, and fly right by you. It is those words that tend to fly by that I am interested in. Meant to be consumed, they are processed and then forgotten almost immediately. Take for example the “LOOK RIGHT” and “LOOK LEFT” instructions that are written on nearly every street. These words are probably read by hundreds and thousands of people several times a day and yet they are forgotten by the viewer almost immediately. Perhaps the tourist appreciates their presence, but they are of little consequence to the native. For those that read these informative words most often, they become another piece of the background noise that a city is so wont to produce. The blase way these words are presented may contribute to the problem. They are hardly notable for their aesthetic grace. Each word looks different from the other but in insubstantial and inconsequent ways: a lopsided ‘O’ or a taller ‘L’. They are viewed everyday by so many and yet so little effort is put into anything but their functionality. Guy Debord would place the moments of their observation squarely in the “empty moments” category. 

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Graffiti as Art: Mark Wallinger

Due to graffiti’s growing prevalence, some artists have started including it in their artwork.  This transition is similar to Pop Art’s inclusion of words. With a greater commercial market, artists added industrial symbols and words to their work as a way to explore and sometimes question this new phenomenon.  Similarly, the introduction of a rising amounts of graffiti urged artists to explore its artistic possibilities. Mark Wallinger’s 1985 work “Where There's Muck” is an example of this trend. Even though Wallinger’s piece is technically considered “high art”, the work serves to question the distinctions between high and street art. People generally dismiss graffiti on the street. As a result, Wallinger’s work shows the significance of the space art is placed in. To some people, Wallinger’s work must be brilliant because of its placement in such an elite institution. Would his work get as much attention on the street? It’s interesting that in his work, spray paint covers up oil paintings. The fragmented oil painting and the word Albion is a reference to ancient or historical times. Therefore, the spray paint symbolically covers up traditional art.  Wallinger’s piece is a reference to Thomas Gainsborough, a well-known British painter, and his 1748 painting “Mr. and Mrs. Andrews.” The painting shows how Mr. Andrew’s marriage enlarged his estate. Wallinger’s work is very political; he highlights the status and identity that comes from property. As a result, he uses graffiti as an indication of rebellion. Wallinger is rebelling against traditional English class restraints, in which the underclass was treated with great social injustice. 

Where There's Muck

Mr. & Mrs. Andrews

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Graffiti as Art: Banksy

Like Wallinger, British street artist, Banksy, questions what art really is. However, instead of attempting to display his work in renounced institutions, Banksy integrates his art in everyday life, typically placing it in the middle of urban areas. Banksy’s undeniable talent and creativity challenges traditional graffiti. As a result, it’s hard to place Banksy’s work in a specific category. It seems to straddle the line between high and street art. Banksy’s name also falls in the middle. Generally, graffiti artists are never publically known. However, Banksy’s reputation precedes himself. In fact, he is more well known than many traditional artists.  Yet, Banksy’s decision to stay anonymous distinguishes himself from “real” artists.  Behind the Cargo Club in London, Banksy’s “Designated Graffiti Art” stands out. First, Banksy’s choice of font strays from typical graffiti. Usually, graffiti words are much messier. However, this font is so structured that it almost looks like its been typed. Secondly, Banksy’s drawing shows great skill.  His obvious talent challenges claims that depict graffiti as a damaging and useless practice. Many people believe illegal graffiti should be removed. However, should Banksy’s productions be preserved? Even critics of graffiti should appreciate Banksy’s creativity. Banksy’s work evokes a lot of thought. His contradictory message and his peculiar decision to include a poodle may confuse viewers.  As a result, it makes sense that people would stop to stare at this work, questioning it’s meaning much like they would at work in an art museum. Many people would define Banksy’s work as great works of art.