1st Edition

The Creative Critic Writing as/about Practice

Edited By Katja Hilevaara, Emily Orley Copyright 2018
    328 Pages 69 B/W Illustrations
    by Routledge

    328 Pages 69 B/W Illustrations
    by Routledge

    As practitioner-researchers, how do we discuss and analyse our work without losing the creative drive that inspired us in the first place?

    Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one’s own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right.

    Finding ways to make the intangible nature of much of our work ‘count’ under assessment has become increasingly important in the Academy and beyond. The Creative Critic offers an inspiring and useful sourcebook for students and practitioner-researchers navigating this area.

    Please see the companion site to the book, http://www.creativecritic.co.uk, where some of the chapters have become unfixed from the page.

    Foreword Jane Rendell

    Introduction Orley and Hilevaara

    Section One: Manifesto (How)

      1. I Am for an Art Writing Susannah Thompson
      2. Lyric Theory PA Skantze
      3. Notitia, Trust, and Creative Research Iain Biggs
      4. Writing Without Writing: Conversation as Material Emma Cocker
      5. The Distracted Cyclist G D White
      6. Footnoting Performance Mike Pearson
      7. An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo
      8. Same Difference Nic Conibere
      9. Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin
      10. A Conjuring Act in The Form of an Interview Augusto Corrieri
      11. Yoko Ono Fanfiction owko69 (Owen G. Parry)
      12. A Fugue State of Theatre Joe Kelleher
      13. Writing with fungi, contagious Taru Elfving

    Middleword One Peter Jaeger

    Section Two: Position (Where)

      1. The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo
      2. Writing about the Sound of Unicorns Salome Voegelin
      3. Far Stretch – Listening to Sound Happening Ella Finer
      4. Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot
      5. Thirteen Points, Expanded Kristen Kreider and James O’Leary
      6. Returning in the House of Democracy Brigid McLeer
      7. Dancing Architecture: Architect-Walking Cathy Turner
      8. Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith
      9. It Moves: reflections on walking as a practice of writing Mary Paterson
      10. In departures, not departing Tim Etchells
      11. Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode
      12. Elfie und Elsinore (fur Heidi) Hayley Newman
      13. Marking a Life Mitch Rose

    Middleword Two Maria Fusco

    Section Three: Beside-ness (Whom)

      1. Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki
      2. An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner
      3. 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish
      4. Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna
      5. A Series of Continuous Accidents Rajni Shah
      6. The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller
      7. The Path on the Floor and Other Uses of Hand-drawing Karen Christopher
      8. Searching for the ‘bandaged place’ Louise Tondeur
      9. The Catalogue for the Public Library of Private Acts Johanna Linsley
      10. Field Notes from a Choreographic Practice Lucy Cash
      11. K.Bae.Tré Douglas Kearney

    Middleword Three Timothy Matthews

    Afterword Jane Rendell


    Katja Hilevaara is a collaborative artist, researcher and teacher who works in performance, installation and art-writing. Her research is concerned with (mis-) remembering, creative constraint and ideas surrounding maintenance, care and enchantment. She lectures at Goldsmiths, University of London, UK. www.katjahilevaara.com

    Emily Orley is a practitioner-researcher whose work includes performance, installation and art- (or place- or commemorative-) writing. She has been making work on her own and in collaboration for 17 years and currently lectures at the University of Roehampton, UK in the Drama, Theatre and Performance Department. www.emilyorley.com