De la poésie au collage, du cinéma au graffiti
The fascination of Wallace Berman (1926-1976) for the textual and the visual is manifest in his Untitled (Parchments) series, which evokes the Dead Sea Scrolls, as well as in his photographs and drawings obliterated by an Aleph, his poems written in Chinese ideograms or in numbers which appear in SE...
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| Main Author: | |
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2016-12-01
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| Series: | Sillages Critiques |
| Subjects: | |
| Online Access: | https://journals.openedition.org/sillagescritiques/4717 |
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| Summary: | The fascination of Wallace Berman (1926-1976) for the textual and the visual is manifest in his Untitled (Parchments) series, which evokes the Dead Sea Scrolls, as well as in his photographs and drawings obliterated by an Aleph, his poems written in Chinese ideograms or in numbers which appear in SEMINA (1955-1964) next to his Beat friends’ poems. In the Verifax Collages (1964-1976), letters and signs disturb the linear reading of the grids of images placed in the manner of comic strips to depict the contemporary period. Letters applied onto the film strip in his movie Untitled/Aleph (1956-1966) infuse the moving images with subliminal messages, whereas a meticulous calligraphy gives a transcendent and sacred iconic quality to his esoteric graffitis. Wallace Berman uses various types of images and alphabets, supports, mediums and processes to amplify the polysemy and confuse interpretation of his work, while exploring the dialectic relationship between the visual and the textual. |
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| ISSN: | 1272-3819 1969-6302 |