Writing about your work
Art-Write by
This book has a single intention: To teach you how to write about your art. Author, artist and media writer Vicki Amorose offers a step-by-step approach that will enable you to create a professional artist statement. From there, she shows you to use the same material to represent you and your work for funding, exhibition material, proposals and websites in order to connect with your viewers and promote and sell your art.
Publication Date: 2013-01-01
Writing the Artist Statement by
"In this book, there are three paths. The whole track-from beginning to end-is a developmental sequence of information and exercises designed to ease you into writing an artist statement. The journey integrates the technical and professional levels of writing with an emotional and spiritual understanding of why you are doing this. The fast track-the technical nuts and bolts on how to write an artist statement-can be pulled together from chapters: 2, 5, 7, 9, 12, 24, 27, 28-39, and 41-44. The contemplative track-a tapestry of psychological, philosophical, and spiritual information, which relates to a range of professional and personal pursuits besides the artist statement-can be found in chapters 1, 3, 4, 6, 8, 11, 13-23, 26, 30 and 46."
Call Number: SMFA: N8600 .G65 2002ISBN: 9780741408433Publication Date: 2002-01-01
I Write Artist Statements by
This delightful little paperback consists of humorously inventive fictionalized artist statements. The recent explosion of interest in academic art programs around the world has led to a dramatic increase in overwritten, hyperbolic artist statements. I Write Artist Statements skewers popular art school clichés while describing impossible projects that simply could not exist off of the printed page.
Call Number: SMFA: Z286.Z54 S25 2018
Books about artists' writings
Amy Sillman faux pas : Selected writings and drawings by
A key figure in the New York art scene, Amy Sillman is renowned for her singular approach to painting and drawing. Her writings extend a practice that challenges traditions and theoretical frameworks with criticality and humor, and advocates subjectivity : she reevaluates Abstract Expressionism with a queer eye, explores the meanings of color and shape, and discusses in depth the work of other artists - from Delacroix to Maria Lassnig to Laura Owens. In Faux Pas, a collection of her most recent essays, alongside her cartoons and original drawings, art - as personal as it is political - is a practice that responds to today's struggles.
Call Number: SMFA: N6537.S543 A35 2020
The Anti-Museum: an Anthology by
The museum is a constant target for criticism, whether from artists, thinkers, curators or the public. From the 20th-century avant-gardes to the present, the museum's suspect position has generated iconoclastic actions, attacks, utopias and alternative exhibition spaces. This anthology is devoted to the "anti-museum," through anti-art, the anti-artist and anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. From Dada to noise music, from "Everything is Art" to NO art, the Japanese avant-gardes to Lettrist cinema, plus major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale and Lydia Lunch, The Anti-Museum sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.
Call Number: N410 .A58 2017
Manifestos and Polemics in Latin American Modern Art by
Bringing together sixty-five primary documents vital to understanding the history of art in Latin America since 1900, Patrick Frank shows how modern art developed in Latin America in this important new work complementing his previous book, Twentieth-Century Art of Latin America, Revised and Expanded Edition. Besides autobiographies, manifestos, interviews, and artists' statements, the editor has assembled material from videos, blogs, handwritten notes, flyers, lectures, and even an after-dinner speech. As the title suggests, many of the texts have a polemical or argumentative cast. In these documents, many of which appear in English for the first time, the artists themselves describe what they hope to accomplish and what they see as obstacles. Designed to show how modern art developed in Latin America, the documents begin with early modern expressions in the early twentieth century, then proceed through the avant-garde of the 1920s, the architectural boom of midcentury, and the Cold War years, and finally conclude with the postmodern artists in the new century.
Call Number: SMFA and Tisch: N6502.5 .M36 2017
Not a Day Without a Line by
Throughout the 20th and in the beginning of the 21st century, many artists take up a double role as both art practitioner and writer. In recent years, scholars and the general public have become increasingly interested in artists' writings. A growing number of collected writings by many major 20th and 21st century artists is now being published in carefully edited publications. What is much less present, however, is a focus on how to understand these artists' writings. That is the aim of the present volume, which contains contributions by artists, academics and curators who undertake a reflection on artists' writings from the 20th and the 21st centuries. Emphasizing the visual arts, including performance art, Not a day Without a Line focuses on artists' writings that do not resemble the more explanatory kinds of writings by art critics, art philosophers or art historians, but which challenge our understanding of them as a text or an instance of reflection. The intricate relations between writing and art practice, between text and image, and between writing and the life of the artist, are important factors in what could be called the artist's methodological promiscuity in writing.
Call Number: N8351 .N67 2013
The Saddest Thing Is That I Have Had to Use Words: a Madeline Gins Reader by
A revelatory anthology of poems, experimental prose and previously unpublished work by Madeline Gins, the transdisciplinary writer-artist-thinker famed for her "Reversible Destiny" architecture Poet, philosopher, speculative architect and transdisciplinary artist, Madeline Gins is well known for her collaborations with her husband, the artist Arakawa, on the experimental architectural project Reversible Destiny, in which they sought to arrest mortality by transforming the built environment. Yet, her own writings--in the form of poetry, essays, experimental prose and philosophical inquiries--represent her most visionary and transformative work. Like Gertrude Stein before her, Gins transfigures grammar and liberates words. Like her contemporaries in conceptual art, her writing is attuned to the energized, collaborative space between reader and page. The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader is a revelatory anthology, edited and with an introduction by the writer and critic Lucy Ives. It brings never-before-published poems and essays together with a complete facsimile reproduction of Gins' 1969 masterpiece, WORD RAIN (or A Discursive Introduction to the Intimate Philosophical Investigations of G, R, E, T, A, G, A, R, B, O, It Says), along with substantial excerpts from her two later books What the President Will Say and Do!! (1984) and Helen Keller or Arakawa (1994). Long out of print or unpublished, Gins' poems and prose form a powerful corpus of experimental literature, one which is sure to upend existing narratives of American poetics at the close of the 20th century. Born in the Bronx and long a resident of New York City, Madeline Gins (1941-2014) participated in experimental artistic and literary movements of the 1960s and '70s before developing a collaborative practice as a philosopher and architect. Alongside her own writing, Gins collaborated with her husband, the artist Arakawa, on a theory of "procedural architecture," an endeavor to create buildings and environments that would prevent human death.
Call Number: SMFA: PS3557.I5 A35 2020
Social medium : artists writing, 2000-2015 by
"Since the turn of the millennium, artists have been writing, and circulating their writing, like never before. The seventy-five texts gathered here--essays, criticism, manifestos, fiction, diaries, scripts, blog posts, and tweets--chart a complex era in the art world and the world at large, weighing in on the exigencies of our times in unexpected and inventive ways." -- Publisher's description
Call Number: SMFA: N7452 .S624 2016- Tender Noted by Tender Noted is a meditation on the intersection of desire, mourning, and listening to one’s skin while coming to understand the practice of love. This interdisciplinary work brings together images from Miller’s filmic and photographic practice, informed by and given voice to by Miller’s writing. The book’s organizing principle is the echo: between text and image and between bodies and the stages, rooms, and affects they inhabitCall Number: SMFA: N7433.4.M5448 T4 2022
Theories and Documents of Contemporary Art by
First published in 1996, this irreplaceable resource has now been updated, revised, and expanded by Kristine Stiles to represent thirty countries and more than one hundred new artists. Stiles has added forty images and a diverse roster of artists, including many who have emerged since the 1980s, such as Julie Mehretu, Carrie Mae Weems, Damien Hirst, Shirin Neshat, Cai Guo-Qian, Olafur Eliasson, Matthew Barney, and Takashi Murakami. The writings, which as before take the form of artists' statements, interviews, and essays, make vivid each artist's aesthetic approach and capture the flavor and intent of his or her work. The internationalism evident in this revised edition reflects the growing interest in the vitality of contemporary art throughout the world from the U.S. and Europe to the Middle East, Asia, Africa, Latin America, and Australia.
Call Number: SMFA and Tisch: N6490 .T492 2012
Tony Conrad: Writings by
Essential writings from the downtown New York legend and polymath, pioneer of both structural film and drone music Tony Conrad (1940-2016) was a legendary multidisciplinary artist known for his groundbreaking contributions in experimental film, music, and video. Upon moving to New York City in 1962, he began making music with John Cale, La Monte Young and Marian Zazeela in the Theatre of Eternal Music, a group that helped shape what would come to be known as minimalist music. He later went on to perform with Lou Reed in a pre-Velvet Underground band called The Primitives and cut a classic 1972 record with the German Krautrock band Faust that set a new standard for drone music. In the 1960s and 1970s, Conrad was perhaps best known for his contribution to film, where he helped to redefine structural filmmaking with The Flicker and Yellow Movies. Conrad went on to create an extensive body of work in a variety of media such as installation, photography, and performance until his death in 2016. Throughout his life, Conrad also wrote prolifically on topics including his own work (and that of his peers), music, art, media theory and activism. Writings is the first book devoted solely to Conrad's writing, collecting 57 hard-to-find or previously unpublished texts from 1961 to 2012. These writings provide a critical lens into the artist's multitudinous identities and wide-ranging creative pursuits and, as with his diverse artistic output, consistently challenge and dismantle authoritarian notions of culture.
Call Number: SMFA: N6537.C6543 A35 2019
Video Writings by Artists by
Just as film theory has incorporated essays and manifestos by filmmakers into a canon that also includes critics studying the "new cinematic object," this publication gathers together a number of artists' writings--which were previously scattered in different publications--in order to revisit and reevaluate the early days of video art (up to 1990, a not entirely arbitrary time span). Adding a critical layer to LOOP Barcelona's 15th edition, Winding the Clock Back: A Contemporary Archaeology of Video, it includes texts by Stephen Beck, AA Bronson, Peter Campus, Peter d'Agostino, Douglas Davis, Jon Dovey, Juan Downey, Jean-Paul Fargier, Hermine Freed, Frank Gillette, David Hall, Takahiko Iimura, Les Levine, Mary Lucier, Muntadas, Nam June Paik, Ulrike Rosenbach, Martha Rosler, Paul Ryan, Francesc Torres, Woody Vasulka & Scott Nygren, Bill Viola and Peter Weibel.
Call Number: SMFA: N6494.V53 V534 2017
Writing about art
How to Write about Contemporary Art by Call Number: N7476 .W544 2014
A Short Guide to Writing about Art by Call Number: SMFA and Tisch: N7476 .B37 2015
Writing about Visual Art by Call Number: N7476 .C378 2003
