Words

from: http://radicalart.info/concept/Words/index.html

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Words

Ivan Puni "Baths", 1915

Gerhard Rühm (Einworttafel)

"alle" – 1952

"Bild" – 1955

Ben Vautier
"Ben" – 1958	"ART" – 1958	"rouge" – 1958
"mais" – 1959	"hier" – 1959	"liberté" – 1959
More word pieces by Ben Vautier.

Ed Ruscha
"Ice", 1961	"Annie" – 1962	"Radio" – 1962
"War surplus" – 1962	"Noise" – 1963	"Room" – 1963
Ed Ruscha has continued to explore the interpolation and juxtaposition of word and image well into the 21st century. A Catalogue Raisonnée of his paintings is under development at: www.edruschacatalogue.com. Currently (July 2007), it is complete until the late eighties.

Roy Lichtenstein

"In" – 1962

"Art" – 1962

Robert Indiana
The Green Diamond EAT, 1962	The Red Diamond DIE, 1962	LOVE, 1966

Joseph Kosuth

Neon, 1965

Wittgenstein's Color, 1989

Giovanni Anselmo
Infinito, 1971	Invisibile, 1971	Particolare, 1972

herman de vries

this, 1990

change, 1991

Sylvie Fleury

"Glamour" – 1995

"Égoïste" – 2000

Christopher Wool
"Fear" – 1996	"Terrorist" – 2001	"Riot" (Copy by Eric Doeringer)

Ottmar Hörl "Unschuld", 1997 [Text on soap]

Stefan Brueggemann
(Nothing) – 2003	(Rubbish) – 2004	(Superficial)

Reynald Drouhin Keyword ("Monochrome") 2006

                                    [To add: Frederico Juan Carlos Loomis (Borges)]

Do Ho Suh Installation, Bristol Museum and Art Gallery

Museum

Marlene Dumas, PORNO BLUES, 1993

Porno Blues, 1993, Ink wash, watercolour on paper,
6 drawings, 30.5x22.5 cm

In two series of drawings both made in 1993. Porno Blues and Porno as a Collage. Dumas used pages from sex magazines as her source material, investigating the interplay between photography's photographic revelations and the veilings and concealments of art, which are widely held to be distinguishing features of eroticism. Marlene Dumas has been laced in the tradition of Expressionism and compared to Edvard Munch and Emil Nolde.
Due to her ironic view of painting's production and perception she has also been considered a neo-conceptualist.
A further dimension in her work of the 1990s has been a distinctive exploration of eroticism. Although Dumas' imagery of predominantly female subject is often derived from mass-media photographic sources, she is not interested in strategies of refusal, or the constriction of 'anti-images' as a way of subverting stereotypical representations. Rather, through exploring the sensuous properties of her medium, she aims to expand the possibilities in painting for representation of the workings of desire.