000			03348nam a2200409 i 4500
001			EBC6120946
003			MiAaPQ
005			20230315092630.0
006			m o d |
007			cr cnu||||||||
008			200414s2020 mau ob 001 0 eng d
020			_a9780262357494 (e-book)
035			_a(MiAaPQ)EBC6120946
035			_a(Au-PeEL)EBL6120946
035			_a(OCoLC)1130309792
040			_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ
050		4	_aPN56.V54 _b.S74 2020
082	0		_a709.04058 _223
100	1		_aStephens, Paul, _eauthor. _918307
245	1	0	_aAbsence of clutter : _bminimal writing as art and literature / _cPaul Stephens.
264		1	_aCambridge, Massachusetts ; _aLondon, England : _bThe MIT Press, _c2020.
300			_a1 online resource (289 pages).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aThe MIT Press Series
504			_aIncludes bibliographical references and index.
520			_aAn exploration of minimal writing--texts generally shorter than a sentence--as complex, powerful literary and visual works. In the 1960s and 70s, minimal and conceptual artists stripped language down to its most basic components: the word and the letter. Barbara Kruger, Jenny Holzer, Carl Andre, Lawrence Weiner, and others built lucrative careers from text-based art. Meanwhile, poets and writers created works of minimal writing--visual texts generally shorter than a sentence. (One poem by Aram Saroyan reads in its entirety: eyeye.) In absence of clutter, Paul Stephens offers the first comprehensive account of minimal writing, arguing that it is equal in complexity and power to better-known, more commercial text-based art. Minimal writing, Stephens writes, can be beguilingly simple on the surface, but can also offer iterative reading experiences on multiple levels, from the fleeting to the ponderous. "absence of clutter," for example, the entire text of a poem by Robert Grenier, is both expressive and self-descriptive. Stephens first sets out a theoretical framework for reading and viewing minimal writing and then offers close readings of works of minimal writing by Saroyan, Grenier, Norman Pritchard, Natalie Czech, and others. He "reverse engineers" recent works by Jen Bervin, Craig Dworkin, and Christian Bok that draw on molecular biology, and explores print-on-demand books by Holly Melgard, code poetry by Nick Montfort, Twitter-based work by Allison Parrish, and the use of Instagram by Hans-Ulrich Obrist and Saroyan. Text, it seems, is becoming ever more prevalent in visual art; meanwhile, poems are getting shorter. When reading has become scanning a screen and writing tapping out a text, absence of clutter invites us to reflect on how we read, see, and pay attention.
588			_aDescription based on print version record.
590			_aElectronic reproduction. Ann Arbor, MI : ProQuest, 2018. Available via World Wide Web. Access may be limited to ProQuest affiliated libraries.
650		0	_aVisual literature _xHistory and criticism.
650		0	_aMinimalism (Literature) _918308
650		0	_aArt and literature.
655		4	_aElectronic books. _92203
797	2		_aProQuest (Firm)
856	4	0	_uhttps://ebookcentral.proquest.com/lib/artjam/detail.action?docID=6120946 _zClick to View
999			_c7690 _d7690