멜 보크너(Mel Bochner)의 미술에 나타난 언어의 타이포그래피적 표현과 의의

Abstract

As for Conceptual Art in the 1960-70s, Mel Bochner used language to compare concept and substance, or used it as a means of describing concepts; but after 1997 he started using it for tasks combining it with pictorial forms (e.g. drawing, painting, engraving). Tasks performed in the Conceptual Art period and pictorial tasks performed after the period show different ways of its application, which means that his tasks are a case of how it is transformed and dealt with in art after the period. It has played an important role in the conceptual artist's art activities. This piece of writing analyzed the ways it is used and the characteristics of his ways of using it shown in his art works to consider the transformation of the formativeness and discuss the artistic significance. He combines texts with pictorial forms to create things. For instance, he selects texts consisting of repetitive or listed phrases and overlaps them, or uses the color matchings between texts and backgrounds, or depicts the properties and textures. His typography that makes people perceive the texts more slowly reflects the structures of the texts, not the meanings of them, which shows that his typography uses language as an object that needs to be recreated, rather than a means of communication. The history of his language, presented as an object that needs to be recreated, began under the influence of post-conceptual artists, who first started using deconstructive typography and texts in design of the 1990s as materials that need to be recreated. But his language has an important position as an application of typography that contributes to variety in text-based art through pictorial methods differentiated from the post-conceptual artists' methods and that is dealt with by artists as artistic form.