Artwork
Untitled
Untitled is a print by Romas Viesulas. It dates from 1965 and is held in the collection of the Museum of Modern Art.
About this work
Overview
Created in 1965, Untitled is one of twelve blind embossings in a portfolio by Romas Viesulas. The work is printed on paper with no ink, relying solely on subtle raised textures to convey its content. It functions as both a title page and a colophon, presenting textual information through tactile means rather than visual legibility. The piece invites physical engagement over optical observation.
Subject & Meaning
The work presents fragments of text—'Music,' 'Image and Sound,' and names including Viesulas and Silvano Bussotti—arranged in a disordered, hand-drawn style.
The work presents fragments of text—'Music,' 'Image and Sound,' and names including Viesulas and Silvano Bussotti—arranged in a disordered, hand-drawn style. These elements suggest a conceptual link between sound, visual art, and authorship. The absence of ink and the fragility of the embossing imply a deliberate resistance to conventional display, emphasizing the ephemeral and sensory nature of artistic communication.
Technique & Style
Viesulas employed blind embossing, a method that depresses paper without ink or color, creating faint relief lines. The text appears irregular, as if handwritten under pressure, with uneven letterforms and inconsistent spacing. This technique strips away visual clarity, forcing the viewer to rely on touch to decode meaning. The result is an intimate, almost private form of inscription.
History & Provenance
The work was produced in 1965 as part of a limited portfolio, likely circulated among experimental artists and collectors. It entered the collection of The Museum of Modern Art, where it remains as an example of postwar printmaking that challenges traditional notions of legibility and presentation. Its inclusion reflects institutional interest in artist books and non-traditional media from the period.
Context
Viesulas’s work emerged within a broader movement of artists exploring the materiality of the book and the limits of visual representation. Influenced by experimental music and concrete poetry, he aligned with contemporaries who treated the page as a site for sensory and conceptual inquiry rather than illustration. The inclusion of Bussotti’s name hints at connections to Italy’s avant-garde circles.
Legacy
Untitled contributes to a lineage of artist books that prioritize tactile experience over visual spectacle. Its quiet, unassuming form has influenced later practices in tactile publishing and sensory-based art. While not widely known, it stands as a quiet testament to the potential of printmaking to transcend sight, offering an alternative mode of artistic exchange rooted in touch and presence.
Artist & collection
