Tania Dibbs

Art Writing as Conceptual Art

Reading art writing requires an extra cup of coffee for me to be able to stomach. I can more easily plow through a scientific abstract than smoothly digest art writing, which takes the simplest ideas and often strives to make them as complicated, vague and important as possible. I feel oddly guilty about this because I love art, I love exploring ideas, I love to learn, I am not intimidated by difficult text and art is my chosen field. Yet when I want to wind down with an article at the end of the day, art writing is not my choice. I fail to buy it, and get distracted and exhausted by my own judging and eye rolling when I notice the effort that the writer took to make a simple idea seem lofty or ambiguous. On many occasions I am bewildered by the first or second reading of a sentence. Art writing is the frame taking over the painting. Here are the types words that are favorites in the field: polymath, normative, palimpsest, transversal, polemic, zeitgeist, ziggurat, semiotic, polemic, etc. Sure, there are uses for them, but sometimes I feel like yelling, “Stop trying so hard! It’s just art!”  Here is an example of some drivel from a Whitney Biennial catalogue as noted in the blog of artist and critic Carol Diehl:

“Bove’s ‘settings’ draw on the style, and substance, of certain time-specific materials to resuscitate their referential possibilities, to pull them out of historical stasis and return them to active symbolic duty, where new adjacencies might reactivate latent meanings.”

Really? (more…)

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