Small lies? Authenticity and the artist interview

This paper examines the ethical and art-historical questions that are raised when conversations with artists are edited for sound clips or transcribed for books and catalogues. Should the reader of an interview be aware of how much has been ‘tidied up’ or redacted? Does it matter that what one is re...

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Bibliographic Details
Main Author: Jean Wainwright
Format: Article
Language:English
Published: Department of Art History, University of Birmingham 2020-12-01
Series:Journal of Art Historiography
Subjects:
Online Access:https://arthistoriography.files.wordpress.com/2020/11/wainwright.pdf
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author Jean Wainwright
author_facet Jean Wainwright
author_sort Jean Wainwright
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description This paper examines the ethical and art-historical questions that are raised when conversations with artists are edited for sound clips or transcribed for books and catalogues. Should the reader of an interview be aware of how much has been ‘tidied up’ or redacted? Does it matter that what one is reading is a version of the authentic truth of the original? Drawing on four contrasting examples, I will trace the significance of the editing process, from the uttered voice to the edited page. Using Gretchen Berg’s interview with Andy Warhol, I discuss the ‘authentic’ artist’s statement. With Warhol’s a: A Novel, I explore the limits of a literal transcription. Discussing my series of interviews with the artist Morten Viskum, I examine the months-long process of determining the psychological underpinnings of his work. Finally, with the artist Nathalia Edenmont, I consider the interview in the context of a traumatic confession.
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spelling doaj.art-835a4e00d08045609b42d6fe2136fecd2022-12-21T20:17:29ZengDepartment of Art History, University of BirminghamJournal of Art Historiography2042-47522020-12-012323JW1Small lies? Authenticity and the artist interviewJean Wainwright 0The University for the Creative Arts, LondonThis paper examines the ethical and art-historical questions that are raised when conversations with artists are edited for sound clips or transcribed for books and catalogues. Should the reader of an interview be aware of how much has been ‘tidied up’ or redacted? Does it matter that what one is reading is a version of the authentic truth of the original? Drawing on four contrasting examples, I will trace the significance of the editing process, from the uttered voice to the edited page. Using Gretchen Berg’s interview with Andy Warhol, I discuss the ‘authentic’ artist’s statement. With Warhol’s a: A Novel, I explore the limits of a literal transcription. Discussing my series of interviews with the artist Morten Viskum, I examine the months-long process of determining the psychological underpinnings of his work. Finally, with the artist Nathalia Edenmont, I consider the interview in the context of a traumatic confession.https://arthistoriography.files.wordpress.com/2020/11/wainwright.pdfthe artist’s interviewinterviewingauthenticitytranscriptionethicsrecording
spellingShingle Jean Wainwright
Small lies? Authenticity and the artist interview
Journal of Art Historiography
the artist’s interview
interviewing
authenticity
transcription
ethics
recording
title Small lies? Authenticity and the artist interview
title_full Small lies? Authenticity and the artist interview
title_fullStr Small lies? Authenticity and the artist interview
title_full_unstemmed Small lies? Authenticity and the artist interview
title_short Small lies? Authenticity and the artist interview
title_sort small lies authenticity and the artist interview
topic the artist’s interview
interviewing
authenticity
transcription
ethics
recording
url https://arthistoriography.files.wordpress.com/2020/11/wainwright.pdf
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