Learning Arts Writing
Instructor: Carmen Winant
Carmen.winant@gmail.com
Website:
http://www.ucdenver.edu/academics/colleges/CLAS/Programs/HumanitiesSocialSciences/St
udents/Pages/Learning-Arts-Writing-Course.aspx
In this course students will develop skills for writing art criticism. Through reading,
observation, discussion, and writing, students will hone the analytic, intuitive, and creative
tools involved in writing about works of art. The course will be divided into three thematic
blocks: the review, the interview, and the personal artist statement. Each block will include
specific, assigned texts, and several field and writing assignments. While students will be
encouraged to explore their own intellectual interests, there will be strong emphasis placed
on practical aspects of criticism, including familiarity with the format appropriate for
various art publications, precision and sophistication in vocabulary, and interview skills. As
part of augmenting their writing skills, students will also work as editors, checking and
revising one another's drafts. The goal will be for each student to have piece of his or her
own art criticism published.
Week 1: Introduction to arts writing
Reading: 15-20 press releases distributed, discussion of “framing art”
Assignment: Write the press release to an imaginary show
Weeks 2-5: The Review
Readings:
Peter Schjeldahl, Funhouse (The New Yorker)
John Kelsey, Stop Painting Painting* (Artforum)
Emily Nussbaum, Louie (The New Yorker)
Daniel Mendelsohn, Lost in Versailles (The New York Review of Books)
Barry Schwabsy, The Complete History of Every One (The Nation)
Jerry Saltz, Cindy Sherman (New York Magazine)
Lauren O’Neill Butler, Lutz Bacher (Artforum)
Brian Sholis, Danny Lyon (Artforum)
Ken Johnson, Now Dig This! Art and Black Los Angeles (The New York Times)
Assignment: Write a review of an active show -- must be visual art -- to be work-shopped by
the class. Three drafts expected.
Week 6: The Review 2
Read five different reviews of the same book, Sheila Heti’s How Should A Person Be?
Diane Johnson, At the Slumber Party (The New York Times Review of Books)
James Wood, True Lives (New Yorker)
Johanna Fateman, Ask Master (Bookforum)
David Hagland, Her Ideal Self (The New York Times)
Britt Peterson, Painting Ugly (The New Republic)
Assignment: Group discussion based on readings; no writing due
Weeks 7-10: The Interview
Readings:
Sarah Charlesworth and Sarah Vanderbeek (North Drive Press)
Kenneth Goldsmith by Wayne Koestenbaum (BOMB)
Amanda Ross-Ho by Elad Lassry (BOMB)
Transcript: Terry Gross and Gene Simmons (Fresh Air)
Dave Hickey by Sheila Heti (The Believer)
Sophie Calle by Damien Hirst (Catalog)
Assignment: Interview an artist. He/she does not have to be a visual artist, but they must be
someone that you have immediate access to. Three drafts will be expected.
Weeks 11-15: The Artist Statement
Readings/assignment: Various artist statements will be distributed for critique and review.
However the majority of these final weeks will be dedicated to writing and work-shopping
personal statements.
OPTIONAL/Individualized work: The Essay
Readings:
Luc Sante, Mother Courage of Rock (The New York Review of Books)
John Kelsey, Next Level Spleen (Artforum)
Ariana Reines, An Hourglass Figure on Photographer Francesca Woodman (LA Times
Review of Books)
Jonathan Lethem, The Ecstasy of Influence (Harpers)
James Baldwin, Fifth Avenue Uptown (Esquire)
Assignment: Write a short, opinionated and clear essay (2,000-4,000 words) that revolves
around a specific and timely issue. Consider: what’s the difference between an essay and a
profile?