ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 6/1/2017

It's the time of the season for loving... Summer of Love Booklist

DATE 5/27/2017

Women in Trees

DATE 5/26/2017

MoMA's remarkable facsimile edition of Robert Rauschenberg's 'Thirty-Four Drawings for Dante’s Inferno'

DATE 5/25/2017

The drop-deadpan landscape photographs of Gohlke and Sternfeld

DATE 5/25/2017

Join ARTBOOK | D.A.P. at Book Expo 2017!

DATE 5/24/2017

Quietly inspiring photographs of Queens, New York, by two American masters

DATE 5/23/2017

Read Georges Bataille with Glenn A. Elmer Griffin at ARTBOOK @ Hauser & Wirth Los Angeles

DATE 5/23/2017

Can a robot be neurotic, helpless or needy? Hello, Robot!

DATE 5/22/2017

How do you feel about objects having feelings? Hello, Robot!

DATE 5/21/2017

Celebrate one of the most fearlessly experimental artists of all time

DATE 5/20/2017

No guarantee of enlightenment, humor, beauty or art: Robert Rauschenberg

DATE 5/20/2017

Swiss Institute Launches 'The Exhibitionist'

DATE 5/19/2017

Almost impossibly rich and rewarding: Robert Rauschenberg opens at MoMA

DATE 5/19/2017

Jeremy Sigler 'My Vibe' Book Launch at Spoonbill & Sugartown

DATE 5/18/2017

Where did hippie design come from? Look to the East!

DATE 5/17/2017

Who knew we needed a book about the hippie houseboat community of Sausalito?

DATE 5/16/2017

Peter Halley: Boats Crosses Trees Figures 1977–78

DATE 5/15/2017

An epic, sweeping tale: Nancy Borowick: The Family Imprint'

DATE 5/14/2017

A Daughter's Portrait of Love and Loss: Nancy Borowick's 'Family Imprint'

DATE 5/13/2017

NEW! The first major monograph on Katherine Bernhardt

DATE 5/12/2017

Automata: the epic tale of the automaton from ancient times to present day

DATE 5/12/2017

Save up to 85% at our L.A. Sample Sale!

DATE 5/11/2017

Larry Fink's Rediscovered Warhol Photos

DATE 5/10/2017

Mark Segal's Cheetah Odyssey

DATE 5/9/2017

Oh Mamí! Mothers Day Staff Picks

DATE 5/9/2017

Mothers Day - It's Complicated

DATE 5/9/2017

Marguerita Mergentime: American Textiles, Modern Ideas

DATE 5/9/2017

Katherine Bernhardt Signing & Launch at Spoonbill & Sugartown

DATE 5/8/2017

Engagingly seedy and colorful: Fred Herzog's Vancouver

DATE 5/7/2017

A Lorna Simpson moment

DATE 5/6/2017

Donald Judd: Writings

DATE 5/5/2017

Thirty-Four Reverse Telescopes and Three Buttons. Recent artwork by Matt Connors

DATE 5/5/2017

Visit New York's most outrageous pop-up bookstore at Frieze NY

DATE 5/3/2017

Boom boxes, break dancing and the Salsa King: Jamel Shabazz's NYC Street Photographs

DATE 5/3/2017

VOTI Book Launch and Discussion at ICI Curatorial Hub

DATE 5/2/2017

Alice Neel, essayist of the canvas

DATE 5/1/2017

Unsentimental Wonder: Hilton Als on Alice Neel

DATE 4/30/2017

Taking on political theater, wealth disparity and commodity culture: Louise Lawler

DATE 4/29/2017

Al Taylor, painter's painter known for his sculpture

DATE 4/28/2017

Eerie and Mystifying. Deborah Remington: A Life in Drawing

DATE 4/27/2017

The iconic fashion photography of James Moore

DATE 4/26/2017

He helped define 60s style. James Moore.

DATE 4/26/2017

James Moore: Photographs 1962-2006

DATE 4/25/2017

Sophie Calle's exquisite tribute to her mother, Rachel Monique

DATE 4/24/2017

Sophie Calle as Spie: Suite Vénitienne

DATE 4/23/2017

Sophie Calle: Double Game, a 'delightfully meta project'

DATE 4/22/2017

Sophie Calle Short List: The Address Book

DATE 4/21/2017

Quiet Sublime: Toba Khedoori

DATE 4/20/2017

Langdon Clay's Parade of Parked Cars in NY in the Magic Years 1974-1976

DATE 4/19/2017

Sophie Calle Signing at 192 Books

DATE 4/19/2017

In Memoriam: Barkley L. Hendricks, 1945-2017


DOCUMENTA NOTEBOOKS: KENNETH GOLDSMITH, LETTER TO BETTINA FUNCKE

THOMAS EVANS | DATE 9/26/2011

Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke

New York-based poet Kenneth Goldsmith’s contribution to the Documenta Notebooks series is a letter to Bettina Funcke, the series’ Head of Publications. In the following excerpt from this letter, Goldsmith describes his work with “Uncreative Writing,” his curating of Ubuweb and the new skill sets needed for writing in the digital age.


I teach Uncreative Writing in an English department at an Ivy League University: I teach students to appropriate, plagiarize, patch-write, and steal. If they show a trace of “creativity,” they are demoted. For a final project, I make them break the most sacred taboo in academia: they must buy a term paper from an online paper mill and present it to me as their own. What I do in the classroom is illegal and unlawful; some might even call it immoral. But the students—and even the parents of the students who have sat in on classes—love it. Finally, what they’ve surreptitiously been doing for years is brought out into the light of day and framed in terms of responsibility rather than reckless “theft.” At the end of the day, I don’t expect them to forever write this way. Instead, they’ve got another tool in their writing toolbox. Unlike the reaction to Day or UbuWeb, students understand that such gestures have many dimensions, that by writing this way, they can also continue to write in more conventional ways. It’s not either/or. But this is typical of their generation: the Internet is just another tool, like oil paint and ceramics. I admire their fluidity and their nonhierarchical approach to media.

And still, what would a nonexpressive poetry look like? A poetry of intellect rather than emotion? One in which the substitutions at the heart of metaphor and image were replaced by the direct presentation of language itself, with “spontaneous overflow” supplanted by meticulous procedure and exhaustively logical process? In which the self-regard of the poet’s ego were no longer whether it could have been done better (the question of the workshop), but whether it could conceivably have been done otherwise. (Craig Dworkin, “Introduction to The UbuWeb Anthology of Conceptual Writing,” http://ubu.com/concept, accessed February 9, 2010.)

Look. I know that UbuWeb is not very good. In terms of films, the selection is random and the quality is often poor. The accompanying text can be shoddy, mostly poached from whatever is available around the Net. So are the films: they are mostly grabbed from private, closed file-sharing communities and made available to the public, hence the often lousy quality. It could be done much better. Yet, in terms of how we’ve gone about building the archive, if we had to ask for permission, we wouldn’t exist. Because we have no money, we don’t ask permission. Asking permission always involves paperwork and negotiations, lawyers, and bank accounts. Yuck. But by doing things the wrong way, we’ve been able to pretty much overnight build an archive that’s accessible to the public free of charge.

In 1969, the Conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting: I do not wish to add any more.” I’ve come to embrace Huebler’s ideas, thought it might be retooled as, “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. I’ve transformed myself from a writer into an information manager, adept at the skills of replicating, organizing, mirroring, archiving, hoarding, storing, reprinting, bootlegging, plundering, and transferring. I’ve needed to acquire a whole new skill set: I’ve become a master typist, an exacting cut-and-paster, and an OCR demon. There’s nothing I love more than transcription; I find few things more satisfying than collation.


Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke

Kenneth Goldsmith: Letter to Bettina Funcke

Kenneth Goldsmith: Letter to Bettina Funcke

HATJE CANTZ
Pbk, 4 x 5.75 in. / 32 pgs / 1 color.

$10.00  free shipping



ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com