From studio to screen: plotting the trajectory of art writing at the end of the world

从工作室到银幕：描绘世界末日艺术写作的轨迹

• 批准号: 2696714
• 金额: --
• 依托单位: Lancaster University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2696714
• 关键词: studio; screen; plotting; trajectory; art

Introduction The start of the 21st century has seen the practice of art writing rise to prominence as a key facet of the "post-conceptual condition" for contemporary art (Osborne 2014). The term art writing was coined by David Carrierin 1987 to describe a pseudo-literary writing that is adjacent to art practice, as a method to reveal and critique the making process, or - more commonly since the conceptual turn of the 1960's when writing becomes the art object itself. Art writing cannot properly be described as a genre or discipline (as I show below one of the key aspects to the study of art writing is that it cuts across disciplines) but it does perhaps have a sensibility. In Essayism, BrianDillon describes working towards a style of writing where he: "want[s] obliquity, essays that approach their targets, for there must be targets, slantwise or with a hail of conflicted attitudes." (2017, p.7) and this description is applicable to much art writing, in that it approaches its ends by methods other than non-fiction or fiction genres, while taking its same forms.

引言21世纪世纪之初，艺术写作的实践作为当代艺术“后概念条件”的一个关键方面变得突出起来（奥斯本2014）。“艺术写作”一词是由大卫·卡里耶于1987年创造的，用来描述一种与艺术实践相邻的伪文学写作，作为一种揭示和批评创作过程的方法，或者更常见的是自20世纪60年代写作成为艺术对象本身的概念转向以来。艺术写作不能被恰当地描述为一种体裁或学科（正如我在下面所展示的，艺术写作研究的一个关键方面是它跨越了学科），但它可能确实有一种感受力。在Essayism中，BrianDillon描述了一种写作风格，他说：“想要连贯性，接近目标的文章，因为必须有目标，倾斜或有冲突的态度。”（2017年，第7页），这一描述适用于许多艺术写作，因为它通过非小说或小说体裁以外的方法达到目的，同时采取相同的形式。