| Field |
Value |
Language |
|
dc.contributor.author |
Titmarsh, M
https://orcid.org/0000-0002-1033-3867
|
en_US |
|
dc.date.issued |
2013 |
en_US |
|
dc.identifier.citation |
Art Monthly, 2013, pp. 33 - 37 |
en_US |
|
dc.identifier.issn |
1033-4025 |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/120618
|
|
|
dc.format |
Critical writing |
en_US |
|
dc.publisher |
Art Monthly Australia |
en_US |
|
dc.relation.ispartof |
Art Monthly |
en_US |
|
dc.title |
Walk the Talk: the politics of artists who write Portfolio |
en_US |
|
utslib.location |
Canberra, Australia |
en_US |
|
utslib.for |
1905 Visual Arts and Crafts |
en_US |
|
utslib.for |
1901 Art Theory and Criticism |
en_US |
|
utslib.for |
1902 Film, Television and Digital Media |
en_US |
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design |
|
|
utslib.copyright.status |
closed_access |
|
|
pubs.consider-herdc |
false |
en_US |
|
pubs.place-of-publication |
Canberra, Australia |
en_US |
|
pubs.rights-statement |
A survey of the historical phenomenon of visual artists who also write and publish on the context of their own contemporary practice. Historically artists have always done much more than simply make work. Unlike other professions with strict demarcations artists have habitually occupied multiple positions within the terrain that makes up the art world. Thus artists continue to be critics (Donald Judd, Robert Rooney, Tracey Clement, Alex Gawronski), theorists (Ian Burn, Robert Smithson, Peter Halley, David Batchelor), historians (Ian Burn, Bernard Smith), curators (Richard Grayson, Tony Tuckson, Ian Burn, and all those artists running ARIs), collectors (most artists have a signiicant collection of other artists¿ work), gallerists (James Dorahy, Scott Donovan, ARIs), and audiences, since a signiicant proportion of any artist¿s audience is other artists. It was not until the 1960s that the professionalisation of the arts drove a wedge into this informal system and created new separate competing disciplines of artist, curator, critic, and so on. Yet at the same time a growing awareness of the artworld¿s ecology has shown the deep interconnectivity of all those positions. The most notable hybrid receiving recent critical attention has been the artist-musician and the supposed synchronicity between musical practice, abstraction, chromatic scales and composition. The hybrid of art and writing remains largely unacknowledged, probably because it deies an old supposition that art should speak for itself and trained writers are better suited for articulating the complexities of art. |
en_US |
