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，Ed Ruscha开始画文字图画。虽然他是 20 世纪 60 年代美国波普艺术运动的领军人物，但我将重新定义这些作品，将其视为 20 世纪文本/图像制作的更广泛传统的核心。我们目前对媒体消费的态度，主要是期望文本和图像能够协同运作，没有严格的区隔，这要归功于 Ruscha 开创性的多模式实践。重新定位Ruscha将建立更准确的文本/图像互动谱系，将现代主义前卫实验与我们当下的时刻联系起来。文本/图像是理解Ruscha绘画的一种方式，它优先考虑其语言和视觉形态的共生。这也是将它们与其他此类多模态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。我将使用 Ruscha 的原型文本/图像作为标准来描述从现代主义开始以来的文本/图像制作传统。这是为了充分理解文本/图像实践在上个世纪是如何发展的，这反过来又将阐明它如何继续发展到今天。关于Ruscha的主要出版物（Benezra 2000，Marshall 2003），将他的多模态视为20世纪60年代激进主义的产物，作为对现代主义假定的单一性的决定性突破。然而，正是在现代主义中，文本/图像实践奠定了许多关键基础。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。利用该领域最近的几项研究（奥尔布赖特 2000、戴维斯 2014、刘易斯 2020），我将识别多模态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。然后我将绘制他们的影响力，在鲁沙的画作中找到这些早期作品的遗产。现代主义中有三种不同的文本/图像实验，形成了我的论点的三个部分，每个部分都将一位诗人与一位画家配对。第一个体现在埃兹拉·庞德（Ezra Pound）和查尔斯·德穆斯（Charles Demuth）的作品中，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，他们将文本/图像视为对象性和物质性的表达。第三部分由 ee cummings 和 Lee Krasner 的作品组成，他们在文本/图像中只发现了抽象，取消了符号功能。这些线索中的每一条都对 Ruscha 的作品产生了重要的影响，他的文本/图像延续了它们所产生的多模态传统。这一探究路线的影响是将 Ruscha 重新定位为 20 世纪多模态艺术的中心人物，一个管道现代主义先锋派与我们自己的经验之间。这些文字绘画深刻地改变了文本/图像交互的过程，最终导致了我们当前不受限制地跨越内侧边界的时刻。在将他的作品与现代主义中早期的文本/图像制作实例联系起来时，我将建立一个清晰的实践谱系，从其尝试性的实验开始到鲁沙成熟的模态共生。