How to Write about Contemporary Art by Gilda Williams

Author:Gilda Williams
Language: eng
Format: epub
Publisher: Thames & Hudson

+ an extended artist’s, curator’s, or critic’s statement: such as artist Christopher Williams writing on his own show, David Zwirner Gallery, New York, Jan—Feb 2011;83 critic Mike Sperlinger writing on sculptor Michael Dean, Herald Street Gallery, London, May 2013;84

+ commentary from another artist: such as artist Francesco Pedraglio, for Marie Lund at Croy Nielsen Gallery, Berlin, Sept—Oct 2012;85

+ creative writing: such as J. Nagy, on Loretta Fahrenholz at Halle Für Kunst Lüneburg, May 2013;86

+ innovative graphics/stand-alone artwork: such as Charles Mayton at Balice Hertling, Paris, Dec 2012;87

+ a collection of ‘parables’ loosely related to the show’s theme: such as A.E. Benenson, for Torrance Shipman Gallery, Brooklyn, New York, Mar–May 2013.88

Curator Tom Morton’s revised press release/interview for his ‘Mom & Dad Show’ at Cubitt Gallery, London (February 2007; the exhibited artists are the curator’s parents) revealed all the ‘track changes’ and behind-the-scenes commentary, to help us grasp what an intensely fraught print-out this is.89

These alternatives testify to just how off-the-leash the gallery press release has become, and can be among the best things in the show. Generally speaking, these variations imply a confident and knowing author behind them, well-versed in art-world conventions and able to spin off them. If you attempt these options or invent your own, be sure that all involved—artist, gallery—are OK with your novelties. Galleries sometimes have two press releases: one playing it straight, supposedly geared at the press, and a second ‘alternative’ variation—just like the project space adjacent to the traditional museum.

> How to write a short promotional piece

A short promotional text, for a museum brochure or website for example, is a mini-press release, crossed with a mini-news item. Sometimes who/what/where/when details are piled up near the header, to free the text for a basic descriptive understanding of the exhibition or artist’s work.

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