Despite the contemporary trend of focusing on personal experience in art and writing, there is very little critical analysis of the concept of experience within fine art. The overarching conceptual aim of this book is to examine the concept of experience, as both content and as interpretative register in the context of fine art. It explores the reasons why experience, when compared to other modes of consciousness – such as understanding, knowing, perceiving or recognizing – is more aligned with the notion of actuality and thus more likely to be viewed as authentic. It then discusses the idea of writing about experience as a practice in fine art – the idea that writing can be understood as a practice like painting, sculpture, video, etc.– and explores a viable methodology for the art-writing practice. The book seeks to provide a more fluid interpretation of experience. In so doing, it explores the following questions: Why does the reading of experience as self-presence predominate? What is the status and value of experience as evidence? How is experience written and seen? In exploring these questions, Kate Love creates a workable strategy for writing about experience.
Despite the contemporary trend of focusing on personal experience in art and writing, there is very little critical analysis of the concept of experience within fine art. The overarching conceptual aim of this book is to examine the concept of experience, as both content and as interpretative register in the context of fine art. It explores the reasons why experience, when compared to other modes of consciousness – such as understanding, knowing, perceiving or recognizing – is more aligned with the notion of actuality and thus more likely to be viewed as authentic. It then discusses the idea of writing about experience as a practice in fine art – the idea that writing can be understood as a practice like painting, sculpture, video, etc.– and explores a viable methodology for the art-writing practice. The book seeks to provide a more fluid interpretation of experience. In so doing, it explores the following questions: Why does the reading of experience as self-presence predominate? What is the status and value of experience as evidence? How is experience written and seen? In exploring these questions, Kate Love creates a workable strategy for writing about experience.
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