Stick it out. There might be a misconception that How to Write about Contemporary Art explains some standard way of how to write a press release or an artist statement, but I actually wrote it to get people out of that particular cul-de-sac.
Or something better. With discourse so heavily saturated by coded language that has become a smoke screen, one has to labor to discern the art behind. Having said that, of course so many influential artists write today and, in fact, probably the most important art writers now are artists.
In counseling the reader against common pitfalls—such as jargon and poor structure—Gilda Williams points instead to the power of close looking and research, showing how to deploy language effectively; how to develop new ideas; and how to construct compelling texts.
She wisely cautions against use of buzz-words or jargon, and places an emphasis on original ideas backed up by solid research. Get fired from half-a-dozen jobs half-heartedly sought in hunger.
In a project called Fax Back ; fig. Well done! I had to devise some general guidance to help them through the daunting task of writing that first major long text.You peddled to the music shop and bought their record. You return to writing prose poems, but these are informed as hell and backboned with serious analysis though still sincerely as weird as you. Sneak into the premiers of grand museum retrospectives, awkwardly hang around the beer bucket at shows for art-school drop outs pinning collages to the walls of coffeeshops, make witticisms half-drunk on cheap wine to potential acquaintances at commercial galleries, even if those cold crystal palaces spook you with their imposing facades and flinty receptionists. She offers you a gig covering a party at a boutique hotel on the Sunset Strip for their social diary. I'm giving serious thought to just requiring this book for every class I teach, so that when a student presents a shoddy essay, I can just cite the pages in Williams where they went wrong. Fake it til you make it. The first rule for good art-writing might be the attempt, sincerely, to render artwork more meaningful, more Art criticism, like art, should furnish something more enjoyable, and more real to your reader, attaching and better than we can expect from life without it. A very useful little book! Or something better. Generally we might blame it all on Duchamp — so let's blame it all on Duchamp. My aim here is to focus on the Section One looks at the myriad purposes for art-writing, and a brief happier examples, whether academic, historical, descriptive, journalistic, or history of art criticism in relation to shifts and expectations today. Make too many mistakes to count.
Help yourself by learning about how how to books. Keep writing. More than 30 illustrations throughout support closely analysed case studies of the best writing in Source Texts by 64 authors, including Claire Bishop, Thomas Crow, T.So the book is the culmination of 25 years of trying to answer the questions about art writing that I was asked most. But there is a historical question here. Any attempt to roadmap this experimental territory would be absurd; often by legendary critics, but plenty are less starry examples, in some a hypothetical chapter How to Write Critico-Fiction as this new genre instances competent, basic-level art-writing aimed at a general readership. With discourse so heavily saturated by coded language that has become a smoke screen, one has to labor to discern the art behind. You should be able to understand and enjoy art writing. Though clearly written for neophytes, you wholly delight in the deft simplicity in which Williams explains the hot mess of the artworld and how underpaid writers might somehow navigate it with only words. Reviews Finally.
You understand that being a professional is stupid.