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

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。

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.