Two Hundred Fifty-Seven Word Abstract:

Issues our panel is considering (bold signals my bold opinion to follow; italics signal indifference)

  1. frictions to epistemic certainties
  2. How have art institutions grappled with this
  3. what new agencies of art writing do such frictions generate?
  4. How might other fields of knowledge benefit from art writing’s speculative, performative and material conditions?
  5. What kinds of (un)productivities or productive refusals might art writing contribute to the precarious economies of artistic and institutional labour?
  6. How does failure function as a form of resistance?
  7. What alternative forms might be brought to address these conditions?


  1. My pseudo-philosophic pronouncement how epistemic certainties are a mirage
  2. benefits of hiding research from art institutions?:  new art writing forms as duckweed
  3. free association as a research method is old to me: is it really a new method for others?
    Are parallel, collegial artworks, including performance, instead of supplementary text, new? And the ethical responsibilities to audience are….????
  4. I can’t trace the history of how philosophy has benefited (some say it has)
  5. manifestos submitted and acted out by  sizeable, cohesive groups or
    solo creative martyrdom (representing sizeable,  cohesive enabling group)
    group disruption of practices (from details of language/formalities to accepted
    behaviours and manners) not necessarily issues: gotta think of power relations…..gotta
    think how little $$$ an artist could subsist upon….gotta think whose respect you’d
  6. failure may have become a technical term by now, otherwise wouldn’t it be a phenomenon whose symptoms are relative to the social group’s values the art writer is addressing (or ignoring dramatically)
  7. whatever the new forms,  how can the ethics of their relationship to art phenomena and audience be made obvious?


BIOGRAPHY / Dr Jeanne Randolph is a Canadian cultural theorist, performer and author who is renowned for her method of ficto-critical writing that emerged in Canada in the 1980s. Randolph was also the first and only writer in Canada to develop Object Relations Psychoanalytic Theory as a medium for cultural criticism. As part of the art writing and knowledge production panel, Randolph will unravel some of the assumptions about what (else) art writing can do.  Her presentation might possibly resemble a stand-up theory performance.



Art Writing and Knowledge Production
Jeanne Randolph, Maria Fusco, Kristen Kreider, Joan Borsa
September 17, 10:00 – 11:50 AM
Engineered Air Theatre, 234 9 Avenue SW
Registration Required