In writing terms, it suffers from two distinct problems:ġ. I wondered how it would come across to a visitor who hasn’t done a degree in fine art, or who isn’t a curator or an arts professional? They would probably find it opaque and unlikely to genuinely help them engage with the work. It seemed unnecessarily complicated, with a dense sentence structure that had to be broken into its component parts. ![]() To an initiated insider with a degree or two in fine art, it described the work on show well.Įven so, I had to read it twice and think about what it meant. It’s not selectively quoted it’s a whole information panel in an exhibition. What do you think of these? The top quote is an example of writing for the public by an institution funded by Arts Council England (ACE). At once mystical and banal, this is the skull of a decaying I wanted to make something that looked like an ethnographic artefact that was about England. There has been much debate about what exactly is Englishness. ![]() X’s creative act of dissolution combines stillness and the intimation of motion, leading us to the very edge of identifiable form and playfully subverting minimalist concerns. Here are two examples of interpretative writing from two different exhibitions in the UK: Example oneĪll the works in this section have one core formal concern in common: the idea of ‘time’ (and space). ![]() Good interpretation enriches perception and enjoyment, without excluding or patronising audiences
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