Steve Cottingham discusses “LETTING ECHO COME FIRST: A CHALLENGE TO CONCEPTUAL WRITING” (which was written by Phil Miletic & leaked by me) & the role of contemporary art criticism for the Temporary Art Review. From the article:
Poet Eric S[c]hmaltz recently wrote, leaked, or stole a manifesto for new directions in conceptual poetry, building on Goldsmith’s advocation of uncreative writing but taking it a step further. Instead of merely appropriating text, relocating it from one place to the next, what if text was moved from one temporal location to the next? Taken from the future and forced into the here and now? What if it could be leaked, like premature torrent releases of pop albums or handycam recordings of blockbusters? What if the poet was not only a thief but a pirate, making others’ words public before they were even published? Before they were even written? “Since language is quantifiable data,” he writes, “it can be hacked and leaked.” I like thinking about this approach inspiring art critics. I’ve seen Facebook commenters take issue with calls for submissions, critiquing the exhibition before the artists have even been selected. I’ve overheard speculative criticism at 1:00 AM in a basement gallery, shit-talking other institutions’ trajectories based on hearsay and gossip. Hell, I’ve seen articles published in the local alt-weekly based on less. How can it go even further? This is an exciting and freeing path for art criticism to take.