Using writing in your practice
This presentation focuses on and provides discussion points around the activity of writing for artists.
It considers the importance and role of the artist’s statement, particularly through the relationship between the written statement and the practice this represents. It suggests practical approaches to overcoming the pitfalls of writing and how this impacts on other activities an artist must undertake. It also includes tips about how you might use text on your website.
Material could be used to:
- Guide students in an assignment to write a strong artist’s statement.
- Run a workshop on how to succinctly talk about your practice to a range of audiences in different contexts.
- Facilitate a creative writing session to help students break out of negative habits in relation to writing about their work.
- Show how to apply writing about practice to specific contexts (e.g writing for your artists website).
Colin Perry is an art writer, editor and researcher based in London, UK. Since 2006, he has contributed features, reviews and artists’ profiles to journals and magazines including Afterall, Art Monthly, Frieze, ArtReview, Art in America and MIRAJ. He has written essays on a wide range of artistic practices for numerous art books and artists’ catalogues. Colin is the reviews editor for the Moving Image Review & Art Journal (MIRAJ). He has project edited publications for Hayward Publishing, Phaidon Press and a number of other publishers. He is currently a researcher at Central Saint Martins (University of the Arts London). His PhD research focuses on experimental/independent documentary film and video in Britain in the 1970s and ’80s, looking at how artists and film-makers have sought to engage with an expanded audience through distribution and broadcasting. You can listen to a further presentation on Press releases by Colin Perry here.
Lucy Day is one half of the Day+Gluckman team, along with Eliza Gluckman. Both trained as artists, Day+Gluckman have been working together curating projects and exhibitions since 2006. From museum-based exhibitions to collaborations with old master dealers, the duo have worked with over 200 artists in diverse environments. Day+Gluckman have a reputation for working with artists with a rigorous approach to practice and context. Their aim is to develop long-term relationships with artists and seek and initiate opportunities to exhibit, explore, curate and commission. This includes never compromising the integrity of the artist and to negotiate clear and honest dialogues around the work that they champion.
Edwina fitzPatrick is the Course Leader for the MFA Fine Art course at Wimbledon College of Art. The course was developed in collaboration with CCW alumni and students, through a project called the Futureproof Course Handbook. Edwina is a practicing artist and completed her AHRC funded practice-based PhD working with the UK Forestry Commission in 2014. She is interested in what sustainability might mean for an artist, in every aspect of their lives. Her art work focuses on what happens when ‘grey’ and ‘green’ environments intersect and how human interactions have, and are, affecting the nature, culture and ecology of a place. Climate change and the ways that landscapes are imaged and imagined is key to her postdoctoral research.
Anne-Marie Creamer’s art practice encompasses videos, drawings and live readings. Her exploratory and experimental approach to narrative often features stories nested within other stories, forming larger mise-en-abyme structures which connect mediums and formats within which her drawings can appear in her work in surprising ways. She is Acting Senior Lecturer on the MFA Fine Art Course at Wimbledon College of Arts
- Gilda Williams is a London correspondent for Artforum and Lecturer at Goldsmiths College and Sotherby’s Institute of Art, London. Her ‘How to Write About Contemporary Art’ is published by Thames & Hudson,
- Jerry Saltz, Seeing Out Loud.
- Rosalind Krauss, The Originality of the Avant-garde