Tradition and the Text/Image: Ed Ruscha's Word Paintings and the Multimodal Legacies of American Modernism

传统与文本/图像：艾德·拉斯查的文字绘画与美国现代主义的多模态遗产

• 批准号: 2875687
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2875687
• 关键词: Tradition; Text; Image; Ed; Ruscha

In 1959, Ed Ruscha began painting pictures of words. While typically located in the 1960s American Pop Art movement, in which he was a leading figure, I will reframe these works as central to the wider tradition of C20th text/image making. Our current attitude towards media consumption, centred on the expectation that text and image function cooperatively, without rigid compartmentalisation, is indebted to Ruscha's pioneering multimodal practice. Resituating Ruscha will establish a more accurate lineage of text/image interaction, connecting Modernist avant-garde experimentation with our present moment.The text/image is a way of understanding Ruscha's paintings which prioritises above all else their symbiosis of verbal and visual modalities. It is also a way to compare them to other such instances of multimodal art, beyond the parameters within which his work is routinely contained. I will use Ruscha's archetypical text/images as the standard from which to delineate a text/image making tradition, from the beginnings of Modernism onwards. This is to fully appreciate how text/image practice developed over the last century, which in turn will illuminate how it continues to develop today.The major publications on Ruscha (Benezra 2000, Marshall 2003), regard his multimodality as a product of 1960s radicalism, as a decisive break from the supposed monomodality of Modernism. It was in Modernism however that many key foundations for text/image practice were laid. It is more constructive to position Ruscha as building on, rather than reacting against, these foundations. Using several recent studies in this area (Albright 2000, Davis 2014, Lewis 2020), I will identify significant instances of multimodal Modernism, both poets concerned with the visual and painters concerned with words. I will then chart their influence, locating the legacies of these earlier works in the paintings of Ruscha.There are three distinct strands of text/image experimentation in Modernism, forming the three sections of my argument, each pairing a poet with a painter. The first is embodied in the work of Ezra Pound and Charles Demuth, who saw text/image interaction as a way of forging new and hybrid sign systems. The second can be found in the work of William Carlos Williams and Stuart Davis, who saw the text/image as an expression of objecthood and materiality. The third consists of the work of ee cummings and Lee Krasner, who found only abstraction in the text/image, a cancelling out of semiotic functions. Each of these strands constitutes a load-bearing influence in the work of Ruscha, whose text/images continuedon the multimodal tradition that they engendered.The impact of this line of inquiry is to reposition Ruscha as a central figure in C20th multimodal art, a conduit between the Modernist avant-garde and our own experience. These paintings of words profoundly altered the course of text/image interaction, which ultimately lead to our current moment of unfettered access across medial boundaries. In making connections between his work and earlier instances of text/image making in Modernism, I will forge a clear lineage of the practice from its tentative experimental beginnings to the fully-fledged modal symbioses of Ruscha.

1959年，埃德·鲁沙开始画文字的图画。虽然他是20世纪60年代美国流行艺术运动中的领军人物，但我将把这些作品重新定位为更广泛的C20文本/图像制作传统的核心。我们目前对媒体消费的态度，集中在期待文本和图像协同发挥作用，而不是僵化的划分，这要归功于Ruscha开创性的多模式实践。恢复Ruscha将建立一个更准确的文本/图像交互谱系，将现代主义前卫实验与我们现在的时刻联系起来。文本/图像是理解Ruscha绘画的一种方式，它优先考虑语言和视觉形式的共生。这也是将它们与其他类似的多通道艺术实例进行比较的一种方式，超越了他的作品通常包含的参数。我将以鲁沙的典型文本/图像为标准，描绘从现代主义开始的文本/图像制作传统。这是为了充分理解文本/图像实践是如何在上个世纪发展起来的，这反过来又将阐明它是如何在今天继续发展的。关于Ruscha的主要出版物(Benezra 2000，Matt 2003)认为他的多重性是20世纪60年代激进主义的产物，是对现代主义假定的单峰性的决定性突破。然而，正是在现代主义中，为文字/图像实践奠定了许多关键的基础。将Ruscha定位为建立在这些基础上，而不是对这些基础做出反应，更具建设性。利用最近在这一领域的几项研究(奥尔布赖特2000，戴维斯2014，刘易斯2020)，我将确定多模式现代主义的重要实例，包括关注视觉的诗人和关注文字的画家。然后，我将绘制它们的影响图，将这些早期作品的遗产放在鲁沙的绘画中。现代主义中有三种截然不同的文本/图像实验，构成了我论点的三个部分，每一个部分都将一个诗人和一个画家配对。第一个体现在Ezra Pound和Charles Demuth的工作中，他们将文本/图像交互视为打造新的混合符号系统的一种方式。第二个可以在威廉·卡洛斯·威廉姆斯和斯图尔特·戴维斯的作品中找到，他们认为文本/图像是客观性和物质性的表达。第三部分是ee Cummings和Lee Krasner的工作，他们在文本/图像中只发现了抽象，抵消了符号功能。这些线索中的每一条都构成了对Ruscha作品的负重影响，他的文本/图像延续了他们所产生的多通道传统。这条线索的影响是将Ruscha重新定位为C20多通道艺术的中心人物，一条连接现代主义前卫和我们自己体验的管道。这些文字的绘画深刻地改变了文字/图像交互的过程，最终导致了我们现在不受限制地跨越中间边界的时刻。在将他的作品与现代主义文本/图像制作的早期实例联系起来的过程中，我将打造一种清晰的谱系，从试探性的实验开始到鲁沙成熟的模式共生。