Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-22T05:38:40.809Z Has data issue: false hasContentIssue false

The Impact of Everyday Language Change on the Practices of Visual Artists

Published online by Cambridge University Press:  21 April 2022

Darryl Hocking
Affiliation:
Auckland University of Technology

Summary

The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists' interviews and statements, this Element investigates shifts in artists' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.
Get access
Type
Element
Information
Online ISBN: 9781108909693
Publisher: Cambridge University Press
Print publication: 19 May 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adamson, N. and Goddard, L. (2012). Introduction. Artists’ statements: Origins, intentions, exegesis. Forum for Modern Language Studies 48 (4), 363–75.Google Scholar
Alberti, L. B. (2011). De Pictura. In Sinisgalli, R. (ed. & trans.), Leon Battista Alberti: On Painting: A New Translation and Critical Edition. Cambridge: Cambridge University Press, pp. 17–85. (Original work published 1435.).CrossRefGoogle Scholar
Allpress, B., Barnacle, R., Duxbury, L. and Grierson, E. (2012). Supervising practice-led research by project in art, creative writing, architecture and design. In Allpress, B., Barnacle, R., Duxbury, L. and Grierson, E. (eds.), Supervising Practices for Postgraduate Research in Art, Architecture and Design. Rotterdam: Sense Publishers, pp. 114.Google Scholar
Aston, G. (1997). Small and large corpora in language learning. In Lewandowska-Tomaszczyk, B. and Melia, P. J. (eds.), PALC ’97: Practical Applications in Language Corpora. Lódz: Lódz University Press, pp. 5162.Google Scholar
Baker, P. (2006). Using Corpora in Discourse Analysis. London: Continuum.CrossRefGoogle Scholar
Baker, P. (2011). Times may change but we’ll always have money: A corpus driven examination of vocabulary change in four diachronic corpora. Journal of English Linguistics 39, 6588.Google Scholar
Baker, P. (2017). American and British English: Divided by a Common Language. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Baker, P., Gabrielatos, C. and McEnery, T. (2013). Discourse Analysis and Media Attitudes: The Representation of Islam in the British Press. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Banaji, S., Burn, A. and Buckingham, D. (2010). The Rhetorics of Creativity: A Review of the Literature. Newcastle upon Tyne: Creativity, Culture and Education.Google Scholar
Barthes, R. (1967). The death of the author. Aspen: The Magazine in a Box 5+6. www.ubu.com/aspen/aspen5and6/threeEssays.html#barthes.Google Scholar
Belshaw, M. (2011). Artists’ statements: The fate of the name. Word & Image 27 (1), 124–33.Google Scholar
Blunden, J. (2020). Adding ‘something more’ to looking: The interaction of artefact, verbiage and visitor in museum exhibitions. Visual Communication 19(1), 4571.CrossRefGoogle Scholar
Bowker, L. and Pearson, J. (2002). Working with Specialized Language: A Practical Guide to Using Corpora. London: Routledge.CrossRefGoogle Scholar
Brezina, V. (2018). Statistics in Corpus Linguistics: A Practical Guide. Cambridge: Cambridge University Press.Google Scholar
Childs, P. (2017). Modernism. Abingdon, UK: Routledge.Google Scholar
Chipp, H. B. (1968). Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: University of California Press.Google Scholar
Cicmil, S., Lindgren, M. and Packendorff, J. (2016). The project (management) discourse and its consequences: On vulnerability and unsustainability in project-based work. New Technology Work and Employment 31(1), 5876.Google Scholar
Clear, J. (2011). Corpus sampling. In Leitner, G. (ed.), New Directions in English Language Corpora. Berlin: De Gruyter Mouton, pp. 2132.Google Scholar
Coates, J. (1983). The Semantics of Modal Auxiliaries. London: Croom Helm.Google Scholar
Cunningham, K. J. (2019). Functional profiles of online explanatory art texts. Corpora 14 (1), 3162.Google Scholar
Damman, C. (2018). Unreliable narrators: Laurie Anderson, Julia Heyward, and Jill Krosen perform the 1970s. In Usui, E. K. (ed.), Centre 38. Washington, DC: National Gallery of Art, pp. 105107.Google Scholar
Danchev, A. (2013). The Letters of Paul Cézanne. London: Thames & Hudson.Google Scholar
Danto, A. C. (1994). Embodied Meanings: Critical Essays and Aesthetic Meditations. New York: Farrar, Straus Giroux.Google Scholar
Davies, M. (2010). The Corpus of Historical American English (COHA): 400 million words, 1810–2009. www.english-corpora.org/coha/.Google Scholar
Davies, M. (2011). Google Books Corpus. (Based on Google Books n-grams). www.english-corpora.org/googlebooks/.Google Scholar
Driver, F. (2001). Geography Militant: Cultures of Exploration and Empire. Oxford: Blackwell.Google Scholar
Driver, F. (2004). Distance and disturbance: Travel, exploration and knowledge in the nineteenth century. Transactions of the Royal Historical Society, Sixth Series 14, 7392.Google Scholar
Efland, A. (1990). A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts. New York: Teachers College Press.Google Scholar
Egbert, J., Larsson, T. and Biber, D. (2020). Doing Linguistics with a Corpus: Methodological Considerations for the Everyday User. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Elkins, J. (2009). On beyond research and new knowledge: Artists with PhDs. In Elkins, J. (ed.), On the New Doctoral Degree in Studio United States. Washington, DC: New Academia Publishing, pp. 112–33.Google Scholar
Fairclough, N. (1992). Discourse and Social Change. Cambridge: Polity Press.Google Scholar
Flowerdew, J. (1996). Concordancing in language learning. In Pennington, M. (ed.), The Power of CALL. Houston: Athelstan, pp. 97113.Google Scholar
Garrett-Petts, W. F. and Nash, R. (2008). Re-visioning the visual: Making artistic inquiry visible. Rhizomes 18 (1). www.rhizomes.net/issue18/garrett/index.html.Google Scholar
Gibbons, J. (2007). Contemporary Art and Memory: Images of Recollection and Remembrance. London: I. B. Tauris.CrossRefGoogle Scholar
Gillon, L. (2017). The Uses of Reason in the Evaluation of Artworks: Commentaries on the Turner Prize. London: Palgrave Macmillan.CrossRefGoogle Scholar
Goldberg, R. (2001). Performance Art: From Futurism to the Present. New York: Thames & Hudson.Google Scholar
Gropius, W. (1965). The New Architecture and the Bauhaus. Cambridge, MA: MIT Press.Google Scholar
Halliwell, S. (1988). Plato: Republic X. Oxford: Oxbow Books.CrossRefGoogle Scholar
Harris, R. (2000). Rethinking Writing. London: Athlone Press.Google Scholar
Harris, R. (2003). The Necessity of Artspeak: The Language of Arts in the Western Tradition. London: Continuum.Google Scholar
Herman, O. and Kovář, V. (2013). Methods for Detection of Word Usage over Time. Seventh Workshop on Recent Advances in Slavonic Natural Language Processing, RASLAN 2013. Brno: Tribun, pp. 7985.Google Scholar
Hocking, D. (2010). The discursive construction of creativity as work in a tertiary art and design environment. Journal of Applied Linguistics and Professional Practice 7 (2), 235–55.Google Scholar
Hocking, D. (2018). Communicating Creativity: The Discursive Facilitation of Creative Activity in Arts. London: Palgrave Macmillan.Google Scholar
Hocking, D. (2021). Artists’ statements, ‘how to guides’ and the conceptualisation of creative practice. English for Specific Purposes 62, 103–16.Google Scholar
Hoey, M. (2005). Lexical Priming: A New Theory of Words and Language. London: Routledge.Google Scholar
Hunston, S. (2002). Corpora in Applied Linguistics. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Huyssen, A. (2012). Twilight Memories: Marking Time in a Culture of Amnesia. New York: Routledge.Google Scholar
Itten, J. (1964). Design and Form: The Basic Course at the Bauhaus. London: Thames & Hudson.Google Scholar
Jansen, L., Luijten, H. and Bakker, N. (eds.) (2009). Vincent van Gogh: The Letters. http://vangoghletters.org.Google Scholar
Johnson-Laird, P. N. (1988). Freedom and constraint in creativity. In Sternberg, R. J. (ed.), The Nature of Creativity: Contemporary Psychological Perspectives. Cambridge: Cambridge University Press, pp. 202–19.Google Scholar
Kahnweiler, D. (1949). The Rise of Cubism. New York: Wittenborn, Schultz.Google Scholar
Kemmis, S. (2010). What is professional practice? Recognising and respecting diversity in understandings of practice. In Kanes, C. (ed.), Elaborating Professionalism: Studies in Practice and Theory. London: Springer, pp. 139–65.Google Scholar
Kester, G. H. (2011). The One and the Many: Contemporary Collaborative Art in a Global Context. Durham, NC: Duke University Press.Google Scholar
Kilgarriff, A., Baisa, V., Bušta, J. et al. (2014). The Sketch Engine: Ten years on. Lexicography ASIALEX (1), 736.CrossRefGoogle Scholar
Kilgarriff, A., Herman, O., Bušta, J., Rychlý, P. and Jakubíček, M. (2015). DIACRAN: A Framework for Diachronic Analysis. www.sketchengine.eu/wp-content/uploads/Diacran_CL2015.pdf.Google Scholar
Klein, K. (2000). On the emergence of memory in historical discourse. Representations 69, 127–50.CrossRefGoogle Scholar
Koester, A. (2010). Building a small specialised corpora. In O’Keeffe, A. and McCarthy, M. (eds.), The Routledge Handbook of Corpus Linguistics. Abingdon, UK: Routledge, pp. 6679.Google Scholar
Lazzeretti, C. (2016). The Language of Museum Communication: A Diachronic Perspective. London: Palgrave Macmillan.Google Scholar
Leech, G. (2004). Recent grammatical change in English: Data, description, theory. In Aijmer, K. and Altenberg, B. (eds.), Advances in Corpus Linguistics: Papers from the 23rd International Conference on English Language Research on Computerised Corpora (ICAME 23). Amsterdam: Rodopi, pp. 6181.CrossRefGoogle Scholar
Leech, G., Hundt, M., Mair, C. and Smith, N. (2009). Change in Contemporary English: A Grammatical Study. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Lejeune, A., Mignon, O. and Pirenne, R. (2013). French theory and American art: An introduction. In Lejeune, A., Mignon, O. and Pirenne, R., R. (eds.), French Theory and American Art. Berlin: Sternberg Press, pp. 941.Google Scholar
LeWitt, S. (1967, June). Paragraphs on conceptual art. Artforum 5(10), 7983.Google Scholar
Liese, J. (2013). Toward a history (and future) of the artist statement. Paper Monument 4. https://nplusonemag.com/online-only/papermonument/toward-a-history-and-future-of-the-artist-statement/.Google Scholar
Marchi, A. (2018). Dividing up the data. In Taylor, C. and Marchi, A. (eds.), Corpus Approaches to Discourse: A Critical Review. London: Routledge, pp. 174–96.Google Scholar
Matisse, H. (1948). Exactitude is not truth. In Clifford, H. (ed.), Henri Matisse: Retrospective Exhibition of Paintings, Drawings and Sculpture. Philadelphia: Philadelphia Museum of Art, pp. 33–4.Google Scholar
McEnery, T., Xiao, R. and Yukio, T. (2006). Corpus-based Language Studies: An Advanced Resource Book. New York: Routledge.Google Scholar
Miller, A. (2017). Creative geographies of ceramic artists: Knowledges and experiences of landscape, practices of art and skill, Social & Cultural Geography 18(2), 245–67.Google Scholar
Miskovic-Lukovic, M. (2009). Is there a chance that I might kinda sort of take you out to dinner? The role of the pragmatic particles kind of and sort of in utterance interpretation. Journal of Pragmatics 41(3), 602–25.Google Scholar
Nochlin, L. (1971). Why have there been no great women artists? Art News 69 (9), 2239.Google Scholar
Ostrow, S. (2003, October 1). Sol LeWitt by Saul Ostrow. Bomb 85, 22–9. https://bombmagazine.org/articles/sol-lewitt/.Google Scholar
Parker, L. D., Jacobs, K. and Schmitz, J. (2019). New public management and the rise of public sector performance audit: Evidence from the Australian case. Accounting, Auditing & Accountability Journal 32 (1), 280306.Google Scholar
Partington, A. (2010). Modern diachronic corpus-assisted discourse studies (MD-CADS) on UK newspapers: An overview of the project. Corpora 5 (2), 83108.CrossRefGoogle Scholar
Partington, A., and Duguid, A. (2008). Modern diachronic corpus-assisted discourse studies (MD-CADS). In Bertuccelli-Papi, M. and Bruti, S. (eds.), Threads in the Complex Fabric of Language: Linguistics and Literary Studies in Honour of Lavinia Merlini. Pisa: Felici Editori, pp. 269–77.Google Scholar
Partington, A., Duguid, A. and Taylor, C. (2013). Modern diachronic corpus-assisted discourse studies (MD-CADS) 1: Comparisons over time in lexical grammar and discourse practices. In Partington, A., Duguid, A. and Taylor, C. (eds.), Patterns and Meanings in Discourse: Theory and Practice in Corpus-assisted Discourse Studies (CADS). Amsterdam: John Benjamins Publishing Company, pp. 265–82.Google Scholar
Pennycook, A. (2007). ‘The rotation gets thick. The constraints get thin’: Creativity, recontextualisation and difference. Applied Linguistics 28 (4), 579–96.CrossRefGoogle Scholar
Phillips, N. and Hardy, C. (2002). Discourse Analysis: Investigating Processes of Social Construction. Thousand Oaks, CA: Sage.CrossRefGoogle Scholar
Quintilian, M. F. (1939). Institutio oratoria. In Butler, H. E. (trans.), The Institutio Oratoria of Quintilian. London: William Heinemann. [Original work published AD 95.]Google Scholar
Rissanen, M. (2018). Three problems connected with the use of diachronic corpora. ICAME Journal 42, 912.Google Scholar
Robertson, J. and McDaniel, C. (2017). Themes of Contemporary Art: Visual Art After 1980. Oxford: Oxford University Press.Google Scholar
Roose, H., Roose, W., & Daenekindt, S. (2018). Trends in contemporary art discourse: Using topic models to analyze 25 years of professional art criticism. Cultural Sociology 12 (3), 303–324.CrossRefGoogle Scholar
Rule, A. and Levine, D. (2012). International art English. Triple Canopy 16. www.canopycanopycanopy.com/contents/international_art_english.Google Scholar
Schmid, H. J. (2000). English Abstract Nouns as Conceptual Shells. Berlin:Mouton de Gruyter.Google Scholar
Schwarzenbach, J. and Hackett, P. (2015). Transatlantic Reflections on the Practice-Based PhD in Fine Art. Abingdon, UK: Taylor & Francis.Google Scholar
Seneca, L. A. (1925) Moral letters to Lucilius. In Gummere, R. M. (trans.), Ad Lucilium Epistulae Morales. London: William Heinemann. [Original work published AD 65.]Google Scholar
Specht, S. M. (2010). Artists’ statements can influence perceptions of artwork. Empirical Studies of the Arts 28 (2), 193206.Google Scholar
Stanyer, J. and Mihelj, S. (2016). Taking time seriously? Theorizing and researching change in communication and media studies. Journal of Communication 66, 266–79.CrossRefGoogle Scholar
Stein, J. (ed.). (1980). The Bauhaus: Weimar, Dessau, Berlin, Chicago (Jabs, W. and Gilbert, B., trans.). Cambridge, MA: Massachusetts Institute of Technology.Google Scholar
Stokes, P. (2006). Creativity from Constraints: The Psychology of Breakthrough. New York: SpringerGoogle Scholar
Sullivan, K. (2009). The languages of art: How representational and abstract painters conceptualize their work in terms of language. Poetics Today 30(3), 517–60.CrossRefGoogle Scholar
Sweeney, J. J. (1946). The Bulletin of the Museum of Modern Art XIII (4–5), 1921.Google Scholar
Talks, The (2011, September) Gilbert & George: ‘We don’t do art for the few.’ https://the-talks.com/interview/gilbert-george/.Google Scholar
Taylor, C. (2010). Science in the news. A diachronic perspective. Corpora 5(2), 221–50.Google Scholar
Temme, J. E. V. (1992). Amount and kind of information in museums: Its effects on visitors’ satisfaction and appreciation of art. Visual Arts Research 18 (2), 2836.Google Scholar
Trevelyan, J. (2013). Peter McLeavey: The Life and Times of a New Zealand Art Dealer. Wellington: Te Papa Press.Google Scholar
Vaughan, E. and Clancy, B. (2013). Small corpora and pragmatics. In Romero-Trillo, J. (ed.), Yearbook of Corpus Linguistics and Pragmatics. London: Springer, pp. 5373.Google Scholar
Walsh, S. (2013). Corpus linguistics and conversation analysis at the interface: Theoretical perspectives, practical outcomes. In Romero-Trillo, J. (ed.), Yearbook of Corpus Linguistics and Pragmatics. London: Springer, pp. 3751.Google Scholar
Wesner, S. (2018). Artists’ Voices in Cultural Policy: Careers, Myths and the Creative Profession after German Unification. London: Springer.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

The Impact of Everyday Language Change on the Practices of Visual Artists
  • Darryl Hocking, Auckland University of Technology
  • Online ISBN: 9781108909693
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

The Impact of Everyday Language Change on the Practices of Visual Artists
  • Darryl Hocking, Auckland University of Technology
  • Online ISBN: 9781108909693
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

The Impact of Everyday Language Change on the Practices of Visual Artists
  • Darryl Hocking, Auckland University of Technology
  • Online ISBN: 9781108909693
Available formats
×