Abstract:

Inscription developed by the Sumerians around 3000 BC is a helper for memory, and a thinking and communication tool. It is important for transferring historical events, myths and religious hymns to the future. At the beginning of the 20th century, inscriptions became a visual image that enriched the plastic structure in the works of Cubist and Dadaist artists. In the second half of the 20th century in the conceptual studies where the audience is directed to a process of mental inquiry rather than aesthetic experience, it stands out as a dominant element. In the conceptual works of Joseph Kosuth, Lawrence Weiner, and of Cengiz Cekil, 'text' replaces of artistic representation. Artists such as Patric King, Jeanne Opgenhaffen and Marianne Requena use the plastic language and historical context of ceramic material in their works, and in these kinds of works, text and inscription appear as a plastic element and a visual image.