B̶r̶a̶v̶o̶ (crossed out), as Laurence Sterne would have written. There is indeed something very meticulous in erasures, and their materiality seems to require its own typeface group, or fleurons…
I'm thinking of Joseph Kosuth’s work, Zero & Not (1986), in which a text by Freud is printed on a wall, struck out with a black tape, but is still very much readable. Deletion, in reference to Freud, is impossible; but more so, itself becomes a sign, or a form of marking.
B̶r̶a̶v̶o̶ (crossed out), as Laurence Sterne would have written. There is indeed something very meticulous in erasures, and their materiality seems to require its own typeface group, or fleurons…
I'm thinking of Joseph Kosuth’s work, Zero & Not (1986), in which a text by Freud is printed on a wall, struck out with a black tape, but is still very much readable. Deletion, in reference to Freud, is impossible; but more so, itself becomes a sign, or a form of marking.
(Here is an image of this work: https://www.under-erasure.com/artists-writers/joseph_kosuth/.)
thanks for this, na'ama, which i'd not seen. past nd
Fantastic! Like a constellation of black holes, which reminds me to congratulate you, Gill Partington and Simon Morris belatedly on Issue #2 of Inscription, finally reviewed here http://books-on-books.com/2022/05/29/books-on-books-collection-inscription-the-journal-of-material-text-issue-2/. Cheers, Robert