Kurt Schwitters kicked your ass before you were born.
Untitled (D’Cily). 1942 Man soll nicht asen mit Phrasen. 1930
Schwitters, influenced by Ferdinand de Saussurre (d. 1913) whose work focused on the relationship of sound to written language and tension between name and object (as illustrated by Magritte in 1928), worked in a multitude of genres including typography (see Merz, below), collage and painting. He also worked with performance pieces and poems that took the form of graphic scores. I don’t mean to imply I understand the entirely of his work, I’m stealing part of this while I better learn the larger picture of what he created. However, I do know this: Kurt Schwitters was the first to give equal weight to both artist material and text then exploring what this implied.
The Cubists were the first to use text in their work, but it was text as decoration briefly used. Schwitters saw it as a material to shape, nurture and blossom. Schwitters spanned the gap between the end of Surrealism and the explosion of a multitude of American art movements that took root in the 1960′s. He influenced sound exploration, poetry, music and design (all 4 wrapped up into John Cage).
Plus he created Merzbau, a freakish construct attempted 3 times, the first of which was in his apartment in Hannover, began in 1923.
It was destroyed by an Allied air raid, so he tried again in Norway in 1937 then again in London in 1947, a year before his death. Schwitters said Merzbau contained everything of importance to him, with the initial Merzbau containing grottoes for Hans Arp, Theo van Doesburg, caves for Hannah Hoch, El Lissitzky and Mies Van der Rohe, plus grottoes dedicated to abstract concepts such as a ‘murderers cave’ or ‘love grotto.’ It doesn’t get any better than that!