"#$% &$'%'()* # +,-'('%'.

(/0


The question is askeu in a text on contempoiaiy ait wiiting by Naiia Fusco.(1) She biings foiwaiu seveial
suggestions befoie ieluctantly settling on an answei. Ait wiiting is 'wiiting with ait'. The ait ieview, aitist
inteiviews, text useu as image within ait, anu expeiimental wiiting, aie a few foims ait wiiting can take.
With such a wealth of possibility foi wiiting within the aitwoilu, its uefinitive puipose is questioneu. The
most tiauitional mouels of ait wiiting, when wiiteis pioviue viviu uesciiptions anu a iecounting of the
image, favoui 'wiiting about ait'. Fusco's ievision allows us a mouein peispective on the shift in ait wiiting
towaius a moie collaboiative anu valueu iole. To wiite alongsiue aitwoiks anu not act as a seconuaiy
iepoit of the image pioviues the ait wiitei with fieeuom. This uefinition tetheis the wiiting to the physical
woik of ait howevei, anu uoes not consiuei the wiiting as an inuepenuent meuium.

Similai to the ielationship between aitist anu viewei, the wiitei communicates anu tianslates iueas to the
ieauei. Semiotics anu language aie the ait wiitei's iesouices. Wiiting is a cieateu anu cieative foim. To
examine the cuiient position of ait wiiting, anu be confiuent in a uefinition, ceitain aspects must be
assesseu. Ait histoiy will be useu to uncovei past examples of ait wiiting, how anu when theie was a shift
anu the cuiient opinion on ait wiiting. Semiotics will be consiueieu when looking at ait ciiticism anu the
uevelopment of a moie expeiimental ait wiiting.




















Wiiting About Ait



Ait ciiticism is the most tiauitional foim of ait wiiting. Populaiiseu in the 18
th
centuiy, it involves the
puisuit of iational appieciation foi the aesthetic qualities of the aitwoik. Towaius the enu of the 18
th

centuiy the authoiitative voice of the ait ciitic was gaining value anu impoitance.(2) With the position that
aitists make ait, anu uo not hanule the business tiansactions of theii woik, the ait wiitei oi ciitic offeieu a
link between uealei anu aitist. Noie iecently positions have changeu. In an aiticle fiom 2uuS entitleu 123%
4355,(,6 %. #$% 7$'%'8'9:/;(S) }ames Elkins expiesses uissatisfaction about the neglect of a uiscuisive voice
in contempoiaiy ait wiiting. Elkins goes as fai to say that it is in ciisis. Be claims it is ueteiioiating 'into the
backgiounu cluttei of ephemeial cultuial ciiticism'. The cluttei he speaks of is the satuiateu maiket of ait
magazines, publications anu catalogues. The suggestion is maue that wiiting about ait has become tiivial
anu lacks intelligent analysis. Elkins calls foi iefoim.

'Systematic concepts anu iules' aie put foiwaiu as a solution. Be poses the thought that ait ciiticism has
nevei been well oiueieu anu that has leu to the incoheience we aie now faceu with. Elkins uesciibes ait
ciiticism as a 'mongiel amongst acauemic puisuits'. With this he is quite accuiate. Baviu Ciow ieinfoices
this view in his <(%$.6=8%'.( %. >,:'.%'89.(4) Aitistic piactices uo not have a set of theoietical iules to apply.
Teims aie taken fiom linguistics anu semiotics anu useu to uesciibe woiks of ait. With no unique
teiminology foi the ciiticism of visual ait, Elkins' hope is voiu. In his lack of consiueiation foi the change in
peiiou anu the necessity foi the ait ciitic to change with it, he is nostalgic in his aiguments.

With the giowth of conceptual ait in the 196us, the tiauitional ait ciitique gieatly uiminisheu in populaiity.
It was thought that this was woiking towaius a commeicialisation of the aitwoilu; taking the authoiship of
iueas away fiom the aitist.(S) In a iounutable uiscussion conuucteu in 2uu2 foi ?8%.@,$, the A$,9,(%
7.(6'%'.(9 .- #$% 7$'%'8'9: aie uiscusseu. Rosalinu Kiauss suggests that in the uecaue leauing up to the
uiscussion, the uiscuisive text has become unnecessaiy.(6) 0nce useu foi the auvancement of aitistic caieeis
anu to inteiact between uealeiaitist negotiations, it must now change tactic. Aitists geneiate publicity
thiough othei means. Appeaiance in gioup shows anu Biennials allow the populaiity foi success. Inteiviews
aie useu to finu meaning in a woik of ait. Wiiting about ait no longei holus the position it once uiu.

Wheie Elkins wallows, Robeit Stoii calls foi an embiace of what ait wiiteis uo have to offei.(6) The wiitei
no longei thinks solely of the ieauei's unueistanuing, but consiueis themself as makeis. The ait wiitei is a
cieative inuiviuual anu theii enueavois shoulu not be sciutinizeu foi what once was, but foi what now is. It
is establisheu thioughout the uiscussion that final juugment is no longei the function of the ait wiitei. Ait
wiiting can still be an inteipietive moue but not foi the haiu-hitting conclusions it once uemonstiateu.
Wiiting about ait is a uateu piactice. Ben Bavis aiticulates, 'a specializeu kinu of wiiting about ait no longei
has the unique iole of motivating inteiest.'(7) With the uecline of ait ciiticism came a giowth in the auuience
foi ait wiiting outsiue the pievious specifications. In 1972 Aitfoium
1
publisheu an aiticle on the incieasing
impoitance of ait magazines. It pioclaimeu, 'No longei the passive juuge anu ieoiuei of ait it |the magazinej
is now a pait of the action.'(7) Ait wiiting has become laceu within the ait woilu in magazines, manifestos
anu pamphlets. Wiiteis while wiiting about ait, wiite alongsiue it. Theiefoie, as Fusco claims(1),wiiting
with ait is a moie fitting uefinition.































1
Aitfoium is a monthly magazine with focus on contempoiaiy ait. It was founueu in 1962 anu is publisheu inteinationally. See:


Wiiting With Ait



Ait wiiting has shifteu fiom juugmental evaluation to a moie expeiimental foim. Bowevei, it is questioneu
if the cieative appioach to ait wiiting is tiuly a new uevelopment. In looking at ait histoiy, it can be
ueteimineu if theie was a scope foi cieative accounts as fai back as the 18
th
anu 19
th
Centuiy, when ait
wiiting came to piominence. With the uawning of the 'Nuseum Age', theie came a uiamatic
iecontexualisation of ait.(2). Ait that hau pieviously been obseiveu within a ieligious context was upiooteu
anu enteieu into the open space of the galleiy. 0iiginal meanings weie sciutiniseu anu iefoimeu, anu
aesthetics moie consiueieu. Stephen Cheeke, in his wiitings on A$.9, BC52$39'9, consiueis the question
being askeu at this time: who is the new leauei of the congiegation of museum-goeis. The ait wiitei's iole
was to pioviue meaning to the viewei.

vocabulaiy was bounu up in ieligious language at this time, anu with the account of the spiiitual
expeiience, ait wiiting became a subjective ieplay of the inuiviuual encountei. The fieeuom of the open
museum encouiageu a fieeuom in wiiting. Romantic uesciiptions not only iecounteu aesthetics, but woulu
offei a new foim to inuulge in alongsiue the woik of ait. In looking at Waltei Patei's analysis of Leonaiuo ua
vinci's Nona Lisa, it becomes cleai that ait ciiticism is not as plain as wiiting about ait.
2
Patei's poetic
uesciiptions foim a visual iepiouuction anu in tuin influence the oiiginal painting.
S
Thiough veibal
uesciiption Waltei Patei is able to cieate a viviu ie-enactment of the Nona Lisa, uiamatising the scene anu
auuing a peiceiveu naiiative.

In wiiting about the visual, meaning is extiacteu fiom the visual sign. Baviu Ciow uesciibes the negotiating
piocess between visual signs anu theii inteipietei.(4) The backgiounu knowleuge of the inteipietei
influences the ieauing, in an active exchange. Woius aie signifieis to iepiesent the signifieu object.
Bowevei, the ielationship between the object anu the woiu useu to signify it is aibitiaiy. The woiu
'mountain' beais no ielation in sounu oi wiitten foim to the object 'mountain'. It is by association that they
aie linkeu. In the uesciiption of 'wiiting with ait', text is an accompaniment to image. visual signs aie
inteipieteu by the wiitei anu tianslateu into language foi the viewei to ieau anu unueistanu. As the image
influences the ait wiitei's woius, the woius become inteitwineu with the image. The ait wiitei can cieate
anu manipulate the visual, using language. As Elkins iightly expiesseu, ait ciiticism pioviues a ciitical
analysis, howevei theie is also ioom foi inteipietation anu cieation. It is theiefoie attesteu that the

2
"It is a beauty wiought out fiom within upon the flesh, the ueposit, little cell by cell, of stiange thoughts anu fantastic ieveiies anu
exquisite passions..She is oluei that the iocks among which she sits, like the vampiie, she has uieu many times, anu leaineu the
seciets of the giave."(2) Patei's wiiting captuies the ait auuience with its piomise of uetails of the Nona Lisa, but is something else
entiiely. It is a piose to be ieau.
S
0nce a uesciiption of a woik of ait is ieau, the piece is colouieu by the tone of the wiiting., "the glamouiing then, to auopt Beienson's
veib (ueiiveu fiom neciomancy), is a piocess that begins with anu is inheient to the visual, as inueeu it is inheient to the veibal. We
aie nevei 'unglamouieu'"- Cheeke.(2)
iomantic wiitings of the 18uu's offeieu cieative expeiimental accounts as well as juugment. This kinu of ait
wiiting can be ieau anu enjoyeu alongsiue the woik itself.

With the move away fiom tiauitional ait ciiticism in the 196us, the aitist inteiview became the most
populai foim foi aitistic insight.(8) uwen Allen insists that the move towaius aitist inteiviews was
attempteu to allow aitists to maiket theii own woik. It offeieu 'an alteinative paiauigm foi the ciitical
juugment of woiks of ait' in which the aitist gets to have a say.(S) By the 198u's the aitist, anu the aitist
peisona, hau become the uiiving foice behinu the ait maiket. Celebiity anu quick accessibility to knowleuge
ieplace lengthy analysis. Theie is a continuous cuiiosity of aitist's intention anu an on-going seaich foi
meaning in a woik of ait.(9) The aitist's voice pioviues authenticity anu is an accessible methou of
communication, consiueiing its moie social piemise. The Q&A layout of a conveisation anu cleai sepaiation
of paiagiaphs with labeleu inuications of who is speaking, piomises an easy-to-follow lineai aigument. Such
ielaxeu ieauing pioviues light insight anu is not as oveiwhelming as the blocks of text in a ciitical analysis.

The conveisation conuucteu within the inteiview is one event in the publication piocess. Beavy euiting to
ensuie the aitist is iepiesenteu as uesiieu anu that the flow of uialogue is consistently engaging, is
unueigone befoie ielease.(1u) The tiansciiption must be wiitten anu iecieateu to ensuie the ieauei's
enteitainment. The value of the inteiview lies in the tiansmission of piimaiy souice accounts of aitistic
enueavois. The ait wiitei must effectively package the inteiview to convey the chaiactei of the aitist.
4


The aitist inteiview is often given cieuit foi its likening to psychoanalysis.(12) In this encountei the analyst
takes on a position of mastei. The analysanu foims a fantasy aiounu the analyst as the knowing entity.
Bowevei, in piactice this is ieveiseu. The analyst is awaie that he oi she, as the one who asks the questions,
uoes not know the answeis. The answeis lie with the aitist being inteivieweu. Anu so the analysanu is
closei to the tiuth. The inteiview is leu by the inteiviewei anu iepiesenteu by the subsequent ait wiiting,
but it is centializeu aiounu the aitist anu the communication of the peisona they want to be ieceiveu. The
ait wiitei, in the aitist inteiview, wiites with ait. Wiiting is not an inuepenuent piactice in this foim, but
ieliant on othei aitists anu tetheieu to existing aitwoiks. The inteiviewei appeais to be a tool the aitist
uses to aiticulate peisonal iueas. The aitist can use the inteiview to convey a message, foi example; }eff
Koons, in his iepiouuction of iuentical answeis to sepaiate inteivieweis, sheus light on the manufactuieu
piocess of the encountei
S
. When such manipulation takes place, the inteiviewei's contiol is challengeu.
Bowevei, the inteiviewei can ieclaim authoiity in the wiiting piocess of the publisheu inteiview.

Reva Wolf, in an intiouuction to an anthology of Anuy Waihol inteiviews, opens with the question, 'Can an
inteiview be a woik of ait.'.(1S) Waihol iaises a host of questions suiiounuing the inteiview thiough tactics
of evasion anu uisinteiest. Waihol's iefusal to act in the expecteu iole of inteiviewee means that the

4
The aitist as a piouuct is a majoi focus of the aitwoilu, "Although uecentializeu, this system consiueis the aitist as the essential
figuie anu it assigns him a piivilegeu iole, since he is the piouuct on which the system uepenus." - uelshoin (1u)
S
In Tim uiiffin's aiticle D,%2.6 #8%'()E F2, #$%'9%G<(%,$H',& 7.(H,$93%'.(, he uesciibes an anticipateu moment in his caieei.(11) uiiffin
sat uown with }eff Koons anu, thiough his questioning,, was gianteu a ieal insight into the aitists' life anu woik. 0i so he thought.
Koons hau pioviueu almost the same inteiview, with the same appaiently spontaneous anecuotes, to a iival publishei.


inteiviewei is challengeu to ienew his oi hei own iole. The inteiview can be a collaboiative exchange
between inteiviewei anu inteiviewee, between aitist anu wiitei. Waihol woulu not pioviue the expecteu
answeis, piefeiiing the moie inventive. Similaily, the inteiviewei must be cieative in the appioach of
questions anu tiansciiption of limiting answeis. Fiench ait histoiian }ean Clauue Lebenztein, in the 197us,
questions Anuy Waihol on thoughts iegaiuing Benii Natisse. When faceu with the aitist's iesponse,
Lebenztein is compelleu to bieak the stanuaiu Q&A ihythm of the inteiview layout in his tiansciipt of the
conveisation. If the wiitei hau only accounteu foi Waihol's answei, 'What can we say about Natisse, Fieu.
Couple of lines.', the page woulu have offeieu veiy little. Bowevei, Lebenztein chooses to fuithei inteipiet
Waihol's statement anu use his silence anu ambiguity as an illusion to a wiuei concept. A pievious
statement Waihol maue, suiiounuing Natisse, is uneaitheu anu the segment is complimenteu with a quote
fiom Natisse himself. The uialogue becomes,


A fiienu once askeu Anuy Waihol what he ieally wanteu out of life, anu he ieplieu, "I
want to be like Natisse."
(Quoteu fiom Calvin Tomkins, "Raggeuy Anuy", in }ohn Coplains's Anuy Waihol,
New Yoik, New Yoik uiaphic, 1971.)


Waihol: "What can we say about Natisse, Fieu. Couple of lines."

"Be who wants to ueuicate himself to painting shoulu stait by cutting out his tongue."
- Benii Natisse (1S)


The wiitei negates fiom the accepteu foimat anu cieates an inteiesting ensemble foi the ieauei, using
Waihol's answei accompanieu with ieseaicheu knowleuge anu juugment. An inteipietative analysis is
offeieu with auuitions to Waihol's limiteu iesponse. If the inteiview is a foim of ait wiiting in favoui of
ciiticism
6
, then this collaboiative inteipietation is the ieplacement of ciitical juugment.(14) Although the
aitist is in contiol of what is saiu, the wiitei offeis a subtle hanu to euit anu piouuce an insightful ieau. The
wiitei uses existing content as well as peisonal knowleuge to wiite alongsiue ait. Thiough the use of
language anu cieative inteipietation, text is piouuceu as a souice of infoimation on an existing subject with
an auuition of content.








6
}ean Wainwiight piaises the inteiview foi its wiiting style, insisting it is not taking the place of ciiticism but changing it, "The
inteiview uoes not ieplace ciitical wiiting - it aius anu abets it".(14).


Wiiting as Ait



Ait wiiting can be ieau anu enjoyeu as an object itself, sepaiate fiom an association to existing aitwoiks.
The ait wiitei can be cieative in the foimation of inuepenuent anu expeiimental texts. The line between
visual ait anu the liteiaiy has been fauing since the iejection of tiauitional ait ciiticism.(1S) Aitists such as
Banne Baiboven acknowleuge the bounuaiies between uisciplines upon being askeu if they aie wiitei oi
aitist.(16) With a unique 'uiawing anu wiiting system', hei woik can be ieau while still being an aesthetic
object in a galleiy. Baiboven makes the point of establishing heiself as a wiitei. Bowevei it can be
questioneu; if she weie to pioclaim to be an aitist, woulu she be any less of a wiitei. Wiiting is a meuium
she uses to cieate ait. It is peihaps time to tiy 'wiiting as ait' on foi size.

Baniel Kunitz uesciibes a change in aitists boin aftei the miu-196us.(1S) Be uesciibes this geneiation as
being boin into a woilu wheie the bounuaiies between music, liteiatuie, ait anu othei cieative foims aie
bluiieu, if not non-existent. In the 21
st
centuiy wiiting can be useu as a cieative meuium. If context is a
uefining chaiacteiistic of ait anu the wiiting is within a galleiy oi ait magazine, then wiitings status as 'ait'
shoulu not be questioneu. Aitists such as Sophie Calle
7
use naiiative thioughout theii woik, uemonstiating
that a stoiy can geneiate ait objects anu be an object itself. Language conjuies up the visual, anu vice veisa.
Nichael Baluwin insists that a linguistic fiamewoik is necessaiy foi Conceptual ait to even be vieweu as
ait.(17) Nichael Ciaig Naitin uemonstiates the ielevance of a linguistic fiamewoik in conceptual ait, in #(
?3C F$,,* (See Figuie 1)
Be uses a self-conuucteu inteiview to convince his auuience that a glass of watei visible in the galleiy is an
oak tiee. This asseits him, the wiitei of these woius, as the authoiity. The woius cieate the aitwoik, as
opposeu to being a seconuaiy account of it. The physical attiibutes of the piece offei nothing. It is the
insistence of the tiansfoimation by the authoi that makes the piece. Naitin Bentschel in D'823,I 7$3')G
D3$%'(E #(6 >.:,%':,9 3 7')3$ '9 J=9% 3 7')3$ likens this to the bouy anu bloou of Chiist.(18) Bieau anu wine
embouy the physical iepiesentation of }esus Chiist, as objects they aie iiielevant, the woiu of the cieatoi is
authoiity
8
. Rathei than an example of text as image in ait, Ciaig Naitin's #( ?3C F$,, gives iesponsibility to
the content of the text itself.

7
Sophie Calle is a celebiateu Fiench aitist who incoipoiates naiiative stiuctuie into liveu expeiience within hei piactice. See:
http:www.thewhiteieview.oiginteiviewsinteiview-with-sophie-calle
8
"F2'9 '9 3 &.$C .- 3$% '( &2'82 %2, 38% .- 5,$8,5%'.( 3(6 %2, 38% .- H'9=3I'K3%'.( @.%2 5$.H, %. @, 3 6,36 ,(6* L.=$ $,95.(9, %. '% M 39 &'%2
%2, %$3(9=@9%3(%'3%'.( .- @$,36 3(6 &'(, '(%. %2, @.6N 3(6 @I..6 .- 72$'9% M $,9%9 &2.IIN .( 3( 38% .- -3'%2*" Bentschal, N. Nichael Ciaig-
Naitin: Anu Sometimes a Cigai is just a Cigai. veilag uas Wunueihoin. ueimany. 1999. P18.

(Figuie 1)
9





9
Q. But the oak tree only exists in the mind. A. No. The actual oak tree is physically present but in the form of the glass of water. As the glass
of water was a particular glass of water, the oak tree is also a particular oaktree. To conceive the category 'oak tree' or to picture a particular oak
tree is not to understand and experience what appears to be a glass of water as an oak tree. Just as it is unperceivable it is also inconceivable. -
Craig-Martin, 1999 (18)
Similaily ait magazines allow this platfoim anu offei ielevant insight into cuiient issues. Bavis claims it was
'the explosion of feminist, gay iights, anu post-colonial stiuggles of the 6u's anu 7u's' that leu to the ait
magazine pioviuing an outlet.(7) Blogs, zines anu methous of self-publishing allow aitists to expiess
themselves thiough the wiitten woiu. Baviu Senioi uiscusses the use of publication anu uistiibution by ait
wiiteis to 'make theii own little spaces foi uispeisal of iueas'.(19) }ust as a museum embouies visual ait anu
pioviues a platfoim foi aitistic piactice, the piinteu object allows ait wiiteis to fuithei theii wiitten
piactice. The ait magazine is a 'multimeuia bioaucast seivice'. (7)
}ohn Bouglas Nillai uiscusses this collective natuie of cuiient ait wiiting (2u) Be notes a 'giowth in the
maiket foi 'quasi-liteiaiy jouinals'' anu uismisses the multimeuia aspect. Nillei acknowleuges F.R.BAvIB
anu ciuuely summaiises its euitoiial policy
1u
as 'anything at all'. It is claimeu that fieeuom of content
encouiages a weak, mix-anu-match appioach to publication. The suggestion is maue that the aitwoilu is
accepting of anything anu eveiything, anu so bau wiiteis can iesiue theie anu get woik seen. Nillai's
assessment that ait wiiting invites in 'anything at all' might well be accuiate. Bowevei, this shoulu be seen
as an opening up of meuiums anu leaining thiough expeiimentation, iathei than complete uisaiiay. Stoii,
in the ?8%.@,$ iounutable uiscussion, claims, 'leaining to wiite in a vaiiety of foims anu leaining to wiite
using uiffeient aspects of ones own voice may be a means of gaining access to fiesh iueas'.(6) An aitist's
piactice involves this puisuit of new iueas, thiough exploiation of foim, meuium anu content. An ait
wiitei's piactice uoes the same.
Nillai fails to unueistanu ait wiiting as both a stiuctuie anu an object, sepaiate fiom liteiatuie. Ait wiiting
is cieative anu expeiimental, challenging the use of text anu escaping the conseivative limits of liteiatuie. In
the afoiementioneu Fusco aiticle, on the uefinitions of ait wiiting, foimat is playeu with.(1) As opposeu to
the stanuaiu lengthy paiagiaphs seen in Elkins' 123% 4355,(,6 %. #$% 7$'%'8'9:/, Fusco's analysis is
enteitaining in its stiuctuial quiiks. Language is bioken up with list-making anu anecuotal iefeiences. The
wiitei conveys hei point anu injects peisonality into the piece. The enteipiising natuie of such wiiting aius
it to be accepteu as a fielu of ait piouuction. The ait wiitei uses text as meuium anu the piinteu page as a
galleiy.
The mix of styles anu foims that Nillai is so opposeu to, is similaily shown in F2, 4355N 4N5.8$'%,.(21) The
publication, 'foi an about expeiimental ait wiiting', hosts an assoitment of inteiviews, shoit stoiies anu
othei examples of ait wiiting. Issues aie themeu not by subject but by methouology. This unifies thematic
appioach anu allows an opening up of style anu foim in the wiiting. By allowing uiffeient methous of
wiiting into such jouinals, the bounuaiies of aitistic piactice aie fuithei bluiieu anu possibilities incieaseu.
Retuining to the uefinition of ait wiiting, a list on O$',K, @I.) is woith attention. Compileu by Nichael
Newman, Auiian Rifkin, Yve Lomax anu, again Naiia Fusco, eleven statements aiounu ait wiiting aie
pioviueu. The fiist statement appeais the most fitting; the othei ten aie almost unnecessaiy if the fiist is to
be tiusteu. "Ait Wiiting emeiges as a piactice." (22)

1u
"Wiiting as a moue that infoims anu feeus, suppoits anu uesciibes, backs up anu inteipiets, comments anu ieflects upon
contempoiaiy aitistic piouuction. Wiiting as the "coie mateiial" of a numbei of visual aitists but equally as a moue that exists paiallel
to oi in seivice of the visual."







The state of ait wiiting occupies much uebate in the 21
st
centuiy. Wiiteis such as Nillai anu Elkins uo not
take it seiiously as an ait foim, as it appeais not as stiuctuieu as the liteiatuie of ait ciiticism. Ait ciiticism
lost authoiity fiom the 196u's onwaius. With conceptual ait begging foi authoiship anu negating the
juugmental ait ciitic, new foims of wiiting weie ieplacements. Bowevei, it has been establisheu that even
in ciiticism uating back to the 18uu's, cieativity anu peisonal inteipietation of the image weie significant
factois. Ait uoes not have a specializeu language, ait wiiteis must cieate anu manipulate to expiess the
visual.

Ait wiiting has always been a cieative meuium but it is now alloweu the stage to establish itself as an
inuepenuent one. The iise in populaiity of the aitist's inteiview, with its simplistic foimat anu quick access
to aitistic insight has continuously peppeieu the pages of ait magazines. The giowth of othei foimats of
publication, such as ait jouinals, have leu to a wealth of possibilities foi ait wiiting. These jouinals
suiiounu the iuea that ait wiiteis can expeiiment with language anu push the bounuaiies of conceiveu
notions of wiiting. Such exploiation of meuium iesembles the way a sculptoi, a paintei, oi an installation
aitist might play.

Ait Wiiting
Can wiite about ait
0ften wiites alongsiue ait
0ccupies its own aitistic context
0ses language to stimulate its viewei
Can cieate an object to be inteipieteu
Is an aitistic piactice













List of Refeiences



(1)Fusco, N. >5'% 3(6 <:3),E 7.(%,:5.$3$N #$% 1$'%'() 3(6 '%9 B(H'$.(9. In: Nap, vol 1S. Autumn. 2uu8.

(2)Cheeke, S. A$.9, BC52$39'9. In: Cheeke, S. Wiiting foi ait: The aesthetics of ekphiasis. Nanchestei.
Nanchestei 0niveisity Piess. 2u1u. P16S-189

(S)Elkins, }. 123% 4355,(,6 %. #$% 7$'%'8'9:/* Piickly Paiauigm Piess. Chicago. 2uuS.

(4) Ciow,B. P'9'@I, >')(9E #( <(%$.6=8%'.( %. >,:'.%'89* AvA Publishing. Switzeilanu. 2uuS.

(S)Allen, u. #)3'(9% 7$'%'8'9:E F2, 3$%'9% '(%,$H',& '( #H3I3(82, :3)3K'(,; QRSTGSU. In: #$% J.=$(3I* 2uuS.
P.Su-61.

(6)Bakei, u, Kiauss, R, Buckloh, B, Fiasei, A, }oselit, B, Neyei, }, Stoii, R, Fostei B, Nillei, }, Noleswoith, B.
V.=(6 F3@I,E F2, A$,9,(% 7.(6'%'.(9 .- #$% 7$'%'8'9:. In: 0ctobei vol 1uu. Spiing, 2uu2. P2uu-228

(7)Bavis, B. F2, W.I6,( #),. In: Ait Papeis Nagazine vol S7. Wintei 2u1S. P46-48

(8)Anastas, R. # V,95.(9,* In: #$% J.=$(3I* 2uuS. P.78-8S.

(9)Buiton, } & Pasquaiiello. "#9C >.:,@.6N BI9, 9.:,%2'() BI9,0E #(3INK'() %2, #$%'9% <(%,$H',&* In: #$%
J.=$(3I* 2uuS. P. 46---49.

(1u)uelshoin, }. F&. 3$, @,%%,$ %23( .(,E X.%,9 .( %2, '(%,$H',& 3(6 %,82('Y=,9 .- :=I%'5I'83%'.(* In: #$%
Z=II,%'(* 2u12.

(11)uiiffin, T. D,%2.6 #8%'()E F2, #$%'9%GGG<(%,$H',&,$ 7.(H,$93%'.(* In: #$% J.=$(3I* 2uuS. P. 71- 77.

(12)Bickeis, P. Intiouuction. In: F3IC'() #$%E <(%,$H',&9 &'%2 3$%'9%9 9'(8, QRSU* Riuinghouse. Lonuon. 2uu7.
P.1S-2S.

(1S) Wolf, R. <(%$.6=8%'.(E F2$.=)2 %2, I..C'() )I399* <(E <[II @, N.=$ :'$$.$E F2, 9,I,8%,6 #(6N 13$2.I
'(%,$H',&9; QRU\GGGQR]S* Caiioll & uiaf. New Yoik. 2uu4.

(14) Wainwiight, }. F2, 735%'H, P.'8,* In: +'3I.)=,* 2uu6. Accesseu on 2uth Nov. 2u1S. Available at
axisaitists.oigiefuialogue4u

(1S) Kunitz, B. F,^%'()E F2, 3$%'9% 39 &$'%,$ 39 3$%'9%. In: Nouein Painteis vol 2S. Summei 2u11. P48-SS

(16)Schoofs, N. 43((, +3$@.H,(E < '(98$'@,; @=% < 6,98$'@, (.%2'()* In: Flash Ait Inteinational vol 46.
Wintei 2u1S. P76-79

(17)Baluwin, N. B^%$38% -$.: _#$% 3(6 `3()=3), 5$.8,,6'()9[. In: Auuio Ait Issue vol 1. 197S. Available at:
http:www2.tate.oig.ukauuioaitscu1_1_tiansciipt.htm Accesseu on: Bec 8 2uuS

(18)Bentschal, N. D'823,I 7$3')GD3$%'(E #(6 >.:,%':,9 3 7')3$ '9 a=9% 3 7')3$. veilag uas Wunueihoin.
ueimany. 1999.

(19)Senior, D. No Future. In: Art Papers Magazine Vol 37. Winter 2013. P54-57

(20)Millar, J.D. Yes, but is it edible?. In: Art Monthly Issue 349. Autumn 2011. P11-14.

(21)Dillon, B. Art writing/Childs play?. In: Art Review Issue 25. Autumn 2008. P34
(22)Fusco, M, Newman, M, Rifkin, A, Lomax, Y. 11 Statements around art writing. In: Frieze Blog.
Available at: http://blog.frieze.com/11-statements-around-art-writing/ Accessed on: Dec 6 2013.


Figuie 1
Nichael Ciaig-Naitin
#( ?3C F$,, 197S
ulass, watei, shelf anu piinteu text
Tate Collection, D'823,I 7$3')GD3$%'( @.$( QRbQ, 2uuS, vieweu on 28
th
Febiuaiy 2u12,
<http:www.tate.oig.ukseivletviewWoik.woikiu=27u72&seaichiu=19S1S&tabview=woik>























Bibliography


Allen, u. #)3'(9% 7$'%'8'9:E F2, 3$%'9% '(%,$H',& '( #H3I3(82, :3)3K'(,; QRSTGSU. In: #$% J.=$(3I* 2uuS.
P.Su-61.
Anastas, R. # V,95.(9,* In: #$% J.=$(3I* 2uuS. P.78-8S.
Bakei, u, Kiauss, R, Buckloh, B, Fiasei, A, }oselit, B, Neyei, }, Stoii, R, Fostei B, Nillei, }, Noleswoith, B.
V.=(6 F3@I,E F2, A$,9,(% 7.(6'%'.(9 .- #$% 7$'%'8'9:. In: 0ctobei vol 1uu. Spiing, 2uu2. P2uu-228

Baluwin, N. B^%$38% -$.: _#$% 3(6 `3()=3), 5$.8,,6'()9[. In: Auuio Ait Issue vol 1. 197S. Available at:
http:www2.tate.oig.ukauuioaitscu1_1_tiansciipt.htm Accesseu on: Bec 8 2uuS

Bee, S. Schoi, N. Naking NEANINu in the 21st Centuiy. In: Ait Papeis Nagazine vol S7. NovBec
2u1S. PS4-S7.

Bickeis, P. Intiouuction. In: F3IC'() #$%E <(%,$H',&9 &'%2 3$%'9%9 9'(8, QRSU* Riuinghouse. Lonuon. 2uu7.
P.1S-2S.
Buiton, } & Pasquaiiello. "#9C >.:,@.6N BI9, 9.:,%2'() BI9,0E #(3INK'() %2, #$%'9% <(%,$H',&* In: #$%
J.=$(3I* 2uuS. P. 46---49.

Cheeke, S. A$.9, BC52$39'9. In: Cheeke, S. Wiiting foi ait: The aesthetics of ekphiasis. Nanchestei.
Nanchestei 0niveisity Piess. 2u1u. P16S-189

Cojanu, C. `':'% &'%2'( ':3),; ':3), &'%2'( I':'%. In: }ouinal of visual ait piactice vol12. 2u1S. P11-2S

Ciow,B. P'9'@I, >')(9E #( <(%$.6=8%'.( %. >,:'.%'89* AvA Publishing. Switzeilanu. 2uuS

Bavis, B. F2, W.I6,( #),. In: Ait Papeis Nagazine vol S7. Wintei 2u1S. P46-48

Dillon, B. Art writing/Childs play?. In: Art Review Issue 25. Autumn 2008. P34

Droitcour, B. Unmagazinely. In: Art Papers Magazine Vol 37. Nov/Dec 2013. P38-42

Elkins, }. 123% 4355,(,6 %. #$% 7$'%'8'9:/* Piickly Paiauigm Piess. Chicago. 2uuS.

Eveiall, u. Fusco, N. Piice, E. `,%%,$9. Ait Nonthly Issue SSu. 0ctobei 2u11. P17-19

Fusco, N. A=@I'92 3(6 Z, +3:(,6* Ait Nonthly Issue SuS. Febiuaiy 2uu7. PS4

Fusco, N. >5'% 3(6 <:3),E 7.(%,:5.$3$N #$% 1$'%'() 3(6 '%9 B(H'$.(9. In: Nap, vol 1S. Autumn. 2uu8.

Fusco, N. XL #$% Z..C O3'$. In: Ait Nonthly ssue S2S. Febiuaiy 2uu9. PS7

Fusco, M, Newman, M, Rifkin, A, Lomax, Y. 11 Statements around art writing. In: Frieze Blog.
Available at: http://blog.frieze.com/11-statements-around-art-writing/ Accessed on: Dec 6 2013.

uelshoin, }. F&. 3$, @,%%,$ %23( .(,E X.%,9 .( %2, '(%,$H',& 3(6 %,82('Y=,9 .- :=I%'5I'83%'.(* In: #$% Z=II,%'(*
2u12.

uiiffin, T. D,%2.6 #8%'()E F2, #$%'9%GGG<(%,$H',&,$ 7.(H,$93%'.(* In: #$% J.=$(3I* 2uuS. P. 71- 77.

Bentschal, N. D'823,I 7$3')GD3$%'(E #(6 >.:,%':,9 3 7')3$ '9 a=9% 3 7')3$. veilag uas Wunueihoin.
ueimany. 1999.

Kunitz, B. F,^%'()E F2, 3$%'9% 39 &$'%,$ 39 3$%'9%. In: Nouein Painteis vol 2S. Summei 2u11. P48-SS

Millar, J.D. Yes, but is it edible?. In: Art Monthly Issue 349. April 2011. P11-14.

Morgan, RC. Art into Ideas. Cambridge University Press. USA.1996.

Moyer, S. Playing Against TYPE. In: Humanities Vol 34. Sep/Oct 2013. P28-33.

Parkinson, G. (Blind Summit) Art writing, narrative, middle voice. In: Art History Vol 34. Spring 2011. P268-
287

Reines, A. K8 Hardy. In: Bomb 119. Spring 2012. Available at: http://bombsite.com/issues/119/articles/6429
Accessed on: December 10 2013.

Senior, D. No Future. In: Art Papers Magazine Vol 37. Winter 2013. P54-57

Wainwiight, }. F2, 735%'H, P.'8,* In: +'3I.)=,* 2uu6. Accesseu on 2uth Nov. 2u1S. Available at
axisaitists.oigiefuialogue4u

Wolf, R. <(%$.6=8%'.(E F2$.=)2 %2, I..C'() )I399* <(E <[II @, N.=$ :'$$.$E F2, 9,I,8%,6 #(6N 13$2.I
'(%,$H',&9; QRU\GGGQR]S* Caiioll & uiaf. New Yoik. 2uu4.