The art of text messaging5/1/2024 Martin Creed, Everything Is Going to Be Alright, 1999 Martin Creed, Everything Is Going to Be Alright, 1999īritish conceptual artist Martin Creed has often explored the role of language and text in his art, and how it can encourage us to look at situations in a new way. While it was initially intended as a pro-choice slogan, this work of text art has now become recognized more generally as a potent commentary on gender inequalities faced by women in patriarchal society.ĥ. This particular artwork, featuring the phrase “Your Body is a Battleground”, was created for the Women’s March on Washington in 1989, in support of women’s reproductive freedom. She most often works with her trademark white text on red backgrounds, and striking black and white imagery. Barbara Kruger, Untitled (Your Body Is a Battleground), 1989 Untitled (Your Body is a Battleground) by Barbara Kruger, 1989, via The BroadĪmerican artist Barbara Kruger has been miming the typography and eye-catching slogans of advertising in her art for decades. Here the phrase Daily Planet might be a reference to the newspaper where Clark Kent (aka Superman) worked, thus breaking apart the landscape image with a reference to popular culture, although Ruscha called the text here “mysterious and teasing.”ģ. In his text art Ruscha deliberately creates a dissonance between words and images by juxtaposing them alongside one another. Ed Ruscha, Daily Planet, 2003 Ed Ruscha, Daily Planet, 2003, via TateĪmerican Pop artist Ed Ruscha has been making a series of artworks featuring sublime landscapes overlaid with seemingly unrelated passages of text since the 1980s, including this work. In her stitched quilts such as Hate and Power Can be a Terrible Thing, 2004, she introduces powerful and provocative statements with a confessional, diaristic quality that jar with the homely, domestic nature of quilting, including “I hate women like you” and “You have no idea of faith.” Emin often includes spelling mistakes in her stitched quilts to give them a deliberately crude, hand-made quality, emphasizing the intimate nature of her words.Ģ. Tracey Emin, Hate and Power Can be a Terrible Thing, 2004 Tracey Emin, Hate and Power Can be a Terrible Thing, 2004, via Tate, which demonstrates the artist’s radical approach to text artīritish artist Tracey Emin has been exploring the role of writing in her art since the 1990s.
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