- by Carey Dunne on October 12, 2015
Anna
Bella Geiger, “Page from O Novo Atlas parte 1” (1977) (courtesy of the Sackner
Archive of Concrete and Visual Poetry, © 2015 Anna Bella Geiger)
Along
with vinyl records and vintage synthesizers, typewriters have made a
nostalgia-fueled resurgence in the digital
age. Take the Hemingwrite, a modern
“distraction-free writing tool” promising screen addicts freedom from the
internet, or German politicians’ ploy to
use “unhackable” typewriters for security purposes, or fiction writer Paul
Auster’s ode to his
1962 Olympia. Artists, too, might think about rescuing the typewriter from
obsolescence after seeing the strange and beautiful pictures compiled in The Art of Typewriting, out this month from Thames & Hudson.
jw curry,
“MAB[2]” (ca. 1992) (courtesy of the Sackner Archive of Concrete and Visual
Poetry, © 2015 jw curry) (click to enlarge)
This
exhaustive compendium compiles work from 200 artists who turned a common office
machine into a tool for image-making, manually twisting and
turning paper in the feed to strike characters in
precisely chosen spots. It spans from the first known piece of
typewriter art — an image of a butterfly composed of brackets, dashes, slashes,
and an asterisk, made by Flora Stacey, a British secretary, in 1898 — to world
maps, lifelike portraits, geometric abstractions, and visual poetry by the
likes of Yoko Ono. It’s all culled from the Sackner Archive of Visual and Concrete Poetry,
the world’s largest collection of its kind and one of Miami’s hidden
art troves, founded by authors Marvin and Ruth Sackner.
Since we
can now place type on pages and screens with no effort or mess, you might think
you could easily reproduce the aesthetic of these manually-produced typewriter
artworks in a program like Microsoft Word. It’s all just proto-ASCII art, right? But the appeal of these images
often comes from their messy, analog nature.
“The
images in this collection are clearly not made on a computer,” graphic designer
John Maeda writes in the book’s preface. “What is
it about them? It’s their imperfection; their mechanical imperfection,
carefully mixed with human sensibilities and grit.”
Jake
Berry, “22 & 10 & Is & Laugh” (1987) (courtesy of the Sackner
Archive of Concrete and Visual Poetry, © 2015 Jake Berry)
Take, for
example, the work of perhaps the best known and most intriguing
typewriter artist, Paul Smith (1921–2007). His severe spastic
cerebral palsy from birth prevented him from ever learning to reading or write,
he required help with eating, dressing, and bathing, and had impaired speech.
But at age 16, he discovered typing as a means of drawing. Though
he couldn’t grasp a brush or pen, he could hit typewriter keys, holding
his right hand down with his left so he could type with a single finger. With
the shift key in lock, using a handful of symbols — @, #, $, %, ^, &, *, (,
and ) — Smith went on to create nearly 400 typed artworks depicting animals,
trains, still lifes, and war scenes, plus portraits of the Pope and Mother
Teresa. Though he worked on a machine, his process was anything but mechanical.
He came up with a shading technique, in which he’d press his thumb on the
ribbon to apply ink to the drawings. He smeared ink with erasers and built
up dark color blocks with repetitive keystrokes.
When
typing in a digital word processor, an artist can’t, for instance, smear
ink or reposition paper. The work in The Art of Typewriting
is a testament to how technical constraints can force artists to be
more resourceful about their creative processes. It would be tedious
or perhaps even impossible to use a program like Photoshop or Word to reproduce
some of the common techniques employed in artistic typewriting. Take the overstrike — while it’s a simple process on
a typewriter, overstriking in Photoshop is cumbersome and requires adding new
layers. So, in addition to being “unhackable” and internet-free,
there are other advantages ye olde typewriter has over today’s sophisticated
word processors and design programs. Luckily, eBay has plenty for sale.
Maurizio
Nannucci, “Dattilograme Typwriter Poem” (1964) (courtesy of the Sackner Archive
of Concrete and Visual Poetry, © 2015 Maurizio Nannucci)
Tom
Phillips, “Pages of A Human Document” (1966–73) (courtesy of the Sackner
Archive of Concrete and Visual Poetry, © 2015 Tom Phillips)
Tom
Phillips, “Pages of A Human Document” (1966–73) (courtesy of the Sackner
Archive of Concrete and Visual Poetry, © 2015 Tom Phillips)
Frank
Singleton, “Abstract 3” (1986) (courtesy of the Sackner Archive of Concrete and
Visual Poetry, © 2015 Frank Singleton)
Eduardo
Kac, “Luz” (1981) (courtesy of the Sackner Archive of Concrete and Visual
Poetry, © 2015 Eduardo Kac)
Jochen
Gerz, “Porträt des Künstlers als junger Bourgeois” (1970) (courtesy of the
Sackner Archive of Concrete and Visual Poetry, © 2015 Jochen Gerz) (click to
enlarge)
Leandro
Katz, “Word Column IV: Puno | Altamira” (ca. 1971) (courtesy of the Sackner
Archive of Concrete and Visual Poetry, © 2015 Leandro Katz)
Leslie
Nichols, “Siobahn (Grimke 1837)” (2011) (courtesy of the Sackner Archive of
Concrete and Visual Poetry, © 2015 Leslie Nichols)
Vittore
Baroni, “Memento Mori” (1988) (courtesy of the Sackner Archive of Concrete and
Visual Poetry, © 2015 Vittore Baroni)
Ruth
Wolf-Reinhardt, “Series Towers” (ca. 1980) (courtesy of the Sackner Archive of
Concrete and Visual Poetry, © 2015 Ruth Wolf-Reinhardt)
Steve
McCaffery, “Second Panel” (1970–75) (courtesy of the Sackner Archive of
Concrete and Visual Poetry, © 2015 Steve McCaffery)
The Art of Typewriting is
available for pre-order from Thames & Hudson and will be published on
October 26.
marvin
sacknerpaul smithruth
sacknerSackner Archive of Visual and Concrete PoetrySteven
Hellerthames and hudsonTypewriter
Arttypography
No comments:
Post a Comment
Note: only a member of this blog may post a comment.