porno - graphic . . .
Hardcore Potography ...
;-) ...
This is Fionna Banner’s floor to ceiling Arse Woman in Wonderland. I think it is about sex.
I like this picture because it’s a wall full of typography. Red / pink typography ! ;-) ...
Fiona Banner often works under the moniker of The Vanity Press. She established the imprint in 1997, with her seminal book The Nam. Since then she has published many works, some in the form of books, some sculptural, some performance based.
In 2009 she issued herself an ISBN number and registered herself as a publication under her own name. Humour, conflict and language are at the core of her work.
She first became known for her “wordscapes” – often heroically proportioned works that capture in her own words films, from war blockbusters to porn. She often works with the “nude”, transcribing the human form into category-defying prose. Sometimes she repurposes military aircraft to brutal, sensual, and comedic ends.
She is the Royal Academy’s Professor of Perspective.
Banner has made a number of works that translate narratives from popular culture to fine art. Typically she uses text to describe scenes or entire plots from such genres as war films, action films and pornography in exact detail. In each instance her descriptions are factual accounts of the dialogue and narrative with subtle personal inflections. The large scale text works are presented on paper and the same text is often rendered in different ways including marker pen, acrylic paint, pencil or screenprints, written by hand or printed in upper or lower case fonts and in different colour combinations of paper and ink.
The scale of the works makes it difficult to read them as linear narratives. In reference to Arsewoman in Wonderland, 2001, which Banner presented at Tate Britain for Turner Prize 2002, Michael Archer explained:
As with Banner’s other text pieces, the small point size of the font relative to the vast area of the overall work together with the closeness of the lines makes it all but impossible simply to read the text ... from beginning to end.
The eye jumps from one point to the next within the work’s field, each time falling on another description. ... But before the shape of any incident can be fully understood by reading the description to its conclusion, a blink, a line break or some other factor has disturbed and fractured the visual experience, sending the eye off elsewhere.
Arsewoman in Wonderland was also presented at the 2. BERLIN BIENNALE.
If there were a pornographic typeface, what would it look like? Fiona Banner likely considered this question when she made Arsewoman in Wonderland (AWIW) (2001). The artwork is a written transcription of Banner’s experience of watching the on-screen action of a pornographic movie directed by American porn star Tiffany Mynx.
The movie has no dialogue and little plot. Watching Mynx’s Asswoman in Wonderland repeatedly Banner transcribed the film’s action as she saw it unfold, later screen-printing the text onto billboard-size paper. Installed within a gallery, the artwork is usually hung flush to the wall with the corners of the paper unfurling from several feet above the audience’s sightline to near the floor .
The written language is bold in its appearance: loud and visually repetitive. The words are hot pink. If you step back, the sea of text becomes unintelligible due to the scale and spacing at which Banner has set the type. A banality of excess, an assault on the visual sense, the Gill Sans Bold typeface presents an onslaught of sex and words. The result is not a crescendo; it is a fake-moaning drone of white noise.
With her bad-girl gesture of wallpapering naughty words in the gallery space, the words provoke, but do they need to be read from start to finish for the work to have effect? Or does the image created by the text, and the fleeting snippets of dirty language that one may catch in a passing glance, contain the intended result of Banner’s use of text as a medium ?
ƒ/6.3
120.0 mm
1/125
250
_NYC5194_pa2
porno - graphic . . .
Hardcore Potography ...
;-) ...
This is Fionna Banner’s floor to ceiling Arse Woman in Wonderland. I think it is about sex.
I like this picture because it’s a wall full of typography. Red / pink typography ! ;-) ...
Fiona Banner often works under the moniker of The Vanity Press. She established the imprint in 1997, with her seminal book The Nam. Since then she has published many works, some in the form of books, some sculptural, some performance based.
In 2009 she issued herself an ISBN number and registered herself as a publication under her own name. Humour, conflict and language are at the core of her work.
She first became known for her “wordscapes” – often heroically proportioned works that capture in her own words films, from war blockbusters to porn. She often works with the “nude”, transcribing the human form into category-defying prose. Sometimes she repurposes military aircraft to brutal, sensual, and comedic ends.
She is the Royal Academy’s Professor of Perspective.
Banner has made a number of works that translate narratives from popular culture to fine art. Typically she uses text to describe scenes or entire plots from such genres as war films, action films and pornography in exact detail. In each instance her descriptions are factual accounts of the dialogue and narrative with subtle personal inflections. The large scale text works are presented on paper and the same text is often rendered in different ways including marker pen, acrylic paint, pencil or screenprints, written by hand or printed in upper or lower case fonts and in different colour combinations of paper and ink.
The scale of the works makes it difficult to read them as linear narratives. In reference to Arsewoman in Wonderland, 2001, which Banner presented at Tate Britain for Turner Prize 2002, Michael Archer explained:
As with Banner’s other text pieces, the small point size of the font relative to the vast area of the overall work together with the closeness of the lines makes it all but impossible simply to read the text ... from beginning to end.
The eye jumps from one point to the next within the work’s field, each time falling on another description. ... But before the shape of any incident can be fully understood by reading the description to its conclusion, a blink, a line break or some other factor has disturbed and fractured the visual experience, sending the eye off elsewhere.
Arsewoman in Wonderland was also presented at the 2. BERLIN BIENNALE.
If there were a pornographic typeface, what would it look like? Fiona Banner likely considered this question when she made Arsewoman in Wonderland (AWIW) (2001). The artwork is a written transcription of Banner’s experience of watching the on-screen action of a pornographic movie directed by American porn star Tiffany Mynx.
The movie has no dialogue and little plot. Watching Mynx’s Asswoman in Wonderland repeatedly Banner transcribed the film’s action as she saw it unfold, later screen-printing the text onto billboard-size paper. Installed within a gallery, the artwork is usually hung flush to the wall with the corners of the paper unfurling from several feet above the audience’s sightline to near the floor .
The written language is bold in its appearance: loud and visually repetitive. The words are hot pink. If you step back, the sea of text becomes unintelligible due to the scale and spacing at which Banner has set the type. A banality of excess, an assault on the visual sense, the Gill Sans Bold typeface presents an onslaught of sex and words. The result is not a crescendo; it is a fake-moaning drone of white noise.
With her bad-girl gesture of wallpapering naughty words in the gallery space, the words provoke, but do they need to be read from start to finish for the work to have effect? Or does the image created by the text, and the fleeting snippets of dirty language that one may catch in a passing glance, contain the intended result of Banner’s use of text as a medium ?
ƒ/6.3
120.0 mm
1/125
250
_NYC5194_pa2