Johanna Drucker

Quick Facts

Full Name	Johanna Drucker
Occupation	Historian
Date Of Birth	May 30, 1952(1952-05-30)
Age	72
Birthplace	Philadelphia
Country	United States
Birth City	Pennsylvania
Horoscope	Taurus

Johanna Drucker Biography

Johanna Drucker is one of the most popular and richest Historian who was born on May 30, 1952 in Philadelphia, Pennsylvania, United States. Johanna Ruth Drucker was born in 1952 in Philadelphia, Pennsylvania to a Jewish family. She was being the child of Barbara (nee Witmer) and Boris Drucker (1920-2009). His father worked as a cartoonist, whose works were published in such publications such as The Saturday Evening Post and The New Yorker.

Drucker’s work focuses on the history of alphabets, model interpretation for digital research, digital aesthetics the historical background of visual information design, the history of print culture, the history of information, and critically research on representation of visual knowledge. The monograph she wrote, The Century of Artist’s Book (1995) was the first monograph publication on the subject of books by artists. In recent years, her research has been focused on information visualization, “which draws heavily on models from the empirical sciences, where approaches based on representation and transparency prevail.” Contrary to this view Drucker emphasizes the performative and rhetorical nature of visualization, placing the emphasis on the interpretation. Drucker believes that digital tools are used in order to “design graphic forms that inscribe subjectivity and affective judgment.”

In Graphesis: Visual Forms of Knowledge Production (2014), Drucker fuses digital humanities, media studies, and graphic design history to provide a descriptive critical language for the analysis of graphical knowledge and outline the principles by which visual formats organize meaningful content, particularly the graphical user interface.

In her debut book Theorizing Modernism: Art along with Critical Theory (1994), Critical Tradition (1994), Drucker charts the visual arts’ discourse through a rigorous analysis of the rhetorical structure of the 19th and 20th century critical writing and the art of practice. In this way she posits modernist theories of visual art using the rhetoric of representation, rather than an historical or formalist perspective specifically in relation to the notion of space, the ontology the object, as well as the production of subjectivity. Drucker argues in The Visual Word Experimental Typography and Modern Art (1994), Drucker claims that the art criticism from Futurism, Dada, and Cubism has not been able to grasp the basic nature of these movements with respect to poetic and visual types of representation. Drucker has emphasized at the beginning of her career how the use of typography fueled debates on the fundamental nature and role that the avant-garde had. As she continues to pursue her fascination with letters, Drucker’s upcoming volume, The Alphabetic Labyrinth: The Letters in History and Imagination (1995) explores the evolution of alphabets, but not only as a set of random signs, but also as a literal representation of meaning, in relation to intellectual developments. For instance, she illustrates the way that modern typefaces, which initially developed in the latter half of the 18th century, embodies Enlightenment philosophical thought. The focus shifts on artist books Century of Artists books (1995) provides the only comprehensive study of the evolution of books by artists as an art form of the 20th century by analyzing their form, structure and the way they are conceptualized. The book examines the works of artists such like William Morris, Marcel Duchamp along with Max Ernst, Drucker considers the book as a metaphor or poem and a narrative or non-narrative sequences by placing its theoretical, historical technological, sociological, and historical aspects within the 20th century avant-garde art movements. The Figuring of the Word Essays: essays on Writing, the Writing, along with Visual Poetics (1998) is an assortment of selected critical essays written by Drucker prior to publication in literary or academic journals. The book starts with the discussion on her experience as a writer and artist , and an account of the factors that inspired her to pursue her research pursuits. She offers an in-depth analysis of contemporary language artists as well as the role of technology to communicate in cyberspace.

Johanna Drucker Net Worth

Johanna Drucker is one of the richest Historian from United States. According to our analysis, Wikipedia, Forbes & Business Insider, Johanna Drucker 's net worth $5 Million. (Last Update: December 11, 2023)

Johanna Drucker (born May 30 1952) is an American author and book artist, as well as a visual theorist, as well as a cultural critic. Her writing is scholarly and discusses visual language, including letters, typography and letterforms, as well as artwork, poetry and, more recently digital aesthetics. The professor is the Martin and Bernard Breslauer Professor at the Department of Information Studies at the Graduate School of Education and Information Studies at UCLA.

Drucker received her B.F.A. in The California College of Arts and Crafts in

1973. She then earned the Ph.D. in The University of California, Berkeley in 1986. She was as the Robertson professor of media Studies in the University of Virginia, and was in the faculty of Purchase College, SUNY, Yale University, Columbia University as well as Columbia University and the University of Texas, Dallas. She was also named the Digital Humanities Fellow at the Stanford Humanities Center, Digital Cultures Fellow at UC Santa Barbara, and Mellon Faculty Fellow in Fine Arts at Harvard University. She is an associate part of the American Academy of Arts and Sciences.

In collaboration with Brad Freeman, Drucker produced Nova Reperta (2000), inspired by illustrations by the sixteenth-century Flemish artist Johannes Stradanus. Work on Nova Reperta was originally begun by Drucker and Freeman in 1993, who planned to include the work in the exhibition Science and the Artist’s Book organized by the Smithsonian Institution Libraries. She collaborated again with Freeman on Emerging Sentience (2001), a work that reflects Drucker’s interest in the literature of artificial intelligence and the development of digital media. In Sweet Dreams: Contemporary Art and Complicity (2005), Drucker calls for a revamp of the academic critical vocabulary to something more befitting new forms and practices in contemporary art, especially as it engages with material culture. Considered at the cutting edge of art criticism, Sweet Dreams details the clear departure of artists from modernist avant-garde movements and shows the ways in which art criticism can shift its terms and sensibilities. Graphic Design History: A Critical Guide (2008) is an edited volume that traces the social and cultural role of visual communication from prehistory to the present, from logos to posters, from the political to the commercial, from early writing to digital design. The book details the ways in which designers have historically shaped graphic forms and effects. Taking up evolving issues of methodology in the burgeoning field of digital humanities, SpecLab: Digital Aesthetics and Speculative Computing (2009) emphasizes the visual over the written system, the generative over the descriptive, and aesthetic subjectivity over analytic objectivism by building on the collective intellectual ferment of digital humanities as it developed at the University of Virginia, one of the universities where the field of digital humanities first developed.

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Facts & Trivia

Johanna Ranked on the list of most popular Historian. Also ranked in the elit list of famous people born in United States. Johanna Drucker celebrates birthday on May 30 of every year.