[This project is being developed on two websites. This site has the introductory materials, and everything pertaining to experimental writing on art. The second site has the material on the more general question of writing (fiction and nonfiction) with images (some art, many not).
As the sections are written links will be added to this Table of Contents.]
Table of Contents
The project began with an awareness of four gaps between disciplinary practices and what might count as interesting writing. Three points of reference serve to get the argument underway: 1: the space between interesting writing and art history; 2: the space between interesting writing and visual studies; 3: the space between interesting writing and art theory. These conclude with 4: the space between interesting writing and images.
Under the Heading "Theories"
1 Some Terms
Brief accounts, to get things started, of notions like "writing with images," with "embedded images," with "included images," and with "captionless images"; and what I mean by "experimental," "conceptual," and "contemporary."
2 The Separable Issue of Texts as Images
When text is considered as a graphic element; artists' books; facsimile books.
3 Problems of Images in Texts
Any project that attempts to rethink writing in relation to art needs to also revisit the tangle of theories about how images can work as something other than illustrations: W. J. T. Mitchell, Hubert Damisch, US legal briefs about images as "protected speech," Susan Buck-Morss, Nelson Goodman.
4 What is an Essay?
The promise and problems of the concept of the essay, with notes on Thomas McFarland, Thomas Harrison, Peter Burgard, Claire de Obaldia, Philip Lopate, William Gass, John D'Agata, György Lukács, Walter Benjamin, Max Bense, and Adorno.
5 Critical Theory, Criticism, Criticality, Critique, Kritik
The "creative nonfiction" essay, as it is taught in writing programs, differs widely from the critical theory essay, as it is understood in art theory and criticism. This chapters collects some pertinent theories about what constitutes critical writing as distinct from historical writing, "creative nonfiction," or the "lyrical essay" from Adorno, Irit Rogoff, Greenberg, Kant, and the book Art Critiques: A Guide.
Writing on Art
6 What Counts as Interesting Writing in Art History?
Introductory remarks Leo Steinberg, Linda Nochlin, Michael Baxandall, Erwin Panofsky, and others; separate studies of Rosalind Krauss, T.J. Clark, Alexander Nemerov, Leo Steinberg, Anne Wagner, Adrian Rifkin, Benjamin Binstock
7 What Counts as Interesting Writing in Visual Studies?
Johanna Frueh, Nicholas Mirzoeff, W.J.T. Mitchell, Sunil Manghani, John Berger
8 What Counts as Interesting Writing in Art Criticism?
Peter Schjeldahl, Michael Kimmelman, Clement Greenberg, Rosalind Krauss, Diderich Diderichsen, Abigail Solomon-Godeau, material on art critiques
9 The French Poststructural Model of Writing with Images
Introductory remarks on Hubert Damisch, Jean-François Lyotard, Jean-Claude Lebensztejn. Precedents in Salvador Dalí and Georges Bataille; Jean Louis Schefer, Hélène Cixous, Jacques Derrida, and Michael Newman
10 How Art History Treats Images
Erwin Panfosky's book on Titian, Michael Baxandall on ekphrasis, Georges Didi-Huberman, a survey of survey textbooks, Horst Bredekamp, Rosalind Krauss's Optical Unconscious
11 How Visual Studies Treats Images
Theorizing Visual Studies, Nicholas Miroeff's Reader, Darian Leader, Lisa Cartwright and Marita Sturken's Introduction; the Journal of Visual Culture)
12 Envoi: The End of Writing on Art
Carol Mavor's Black and Blue; a look back toward art history and forward to fiction that uses images.