Alighiero Boetti, Niente Da Vedere Niente Da Nascondere, 1989, Tapestry, 10x 10.2 inches
The Art Section presents three articles that explore different stances the writer may assume toward the artist and the work of art: that of translator, critic, or interviewer. Perhaps all three of these roles entail acts of translation since all are means of conveying the work or person to a reader.
Nicolette Reim, a visual artist and poet, has written Poetry in Translation which explores the philosophy and history of the process of translating a work. Translating poems is necessarily a delicate operation, and Reim brings up many of the questions that surround translation and the role of the translator.
I wonder if the art critic is a kind of translator as well? And how is critical discourse different from the reading of the work? Robert Stalker brings us his reading of California artist Larry Bell on his exhibition at the ICA in Miami. Perhaps Bell is the translator of light and form in his early cubes of light and Stalker is the chronicler of his work.
Stephanie Buhmann brings her perspective as an art historian to her series of published interviews with artists titled Studio Conversations. Buhmann has agreed to be the interviewee this time. She speaks about her process and mission of chronicling women artists. In this turning of the tables I have enjoyed gaining insight how an art historian perceives the process of relaying the life of the studio and the work of the artist.
Many thanks to all our writers.
All my best,
The Art Section
Deanna Sirlin is an artist and writer from Brooklyn, New York currently living and working outside of Atlanta, Georgia.