Special Issue: Art Writing, Paraliterature and Intrepid Forms of Practice
- Submitting institution
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Glasgow School of Art
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 5687
- Type
- B - Edited book
- DOI
-
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- Publisher
- Intellect
- ISBN
- 0000000000
- Open access status
- Out of scope for open access requirements
- Month of publication
- September
- Year of publication
- 2017
- URL
-
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The special issue began as a pre-constituted panel on art writing presented at the College Art Association conference (NYC, 2017) by four of the contributing authors. Our central question was to ask how writing in creative practice could be defined and how far the boundaries of this definition might be stretched within the context of an established, peer-reviewed, academic journal. Negotiating the tightrope between the aims of this specific journal (expansive, experimental, risk-taking) and adherence to broader academic conventions engendered further reflection, debate and discussion amongst the contributors as the journal proceeded through numerous structured stages of writing, peer-review, editing and publication.
The editorial approach reflected Gilda Williams’ claim, in 2014, that audiences could now wave goodbye to ‘impenetrable press releases and art speak’ because art writing had become a parallel and not reactive activity. Williams’ understanding of the relationship between the visual and textual was the point of departure, in that all contributors consider both art and writing as practice (itself a contested term), and the relationship between them is attentive, reciprocal, parallel and embedded.
The articles and texts presented deliberately took a wide variety of forms, demonstrating the breadth of approaches by practitioners all working within, or in close proximity to, visual art. The researcher wrote the editorial as well as a further, single authored article (10k words). The journal was launched at a public event in November 2018 at CCA, Glasgow, and has led to subsequent collaborative projects between the contributors (e.g. Joanne Tatham’s contribution to another special issue edited by the author, and a public event between Tatham & O’Sullivan and Thompson at Hospitalfield, 2019).
- Author contribution statement
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- Non-English
- No
- English abstract
- -