A short time ago British artist Fiona Banner designed her own font, utilizing an amalgamation of typefaces she had employed in a variety of text-based artworks, including full stop sculptures, typeset wall works, and artist books, (including, for example The Nam, an epic account of Vietnam war movies written from memory). Banner named her new font: Font, a cheeky, self-referential title of little surprise to those familiar with Banner’s poetic, disruptive interrogation of cultural, institutional and technological frameworks. Concurrent with her creation, Banner became fascinated with the idiosyncratic double meaning of the word itself. In addition to a typeface, a…