Track Changes: A Handbook for Art Criticism

by Mira Dayal (editor), Josephine Heston (Editor), Mira Dayal (Editor)

Critics who “have an agenda” are admonished for putting social, ideological, or political concerns ahead of honest judgments. But are judgments ever neutral? How can agendas productively heighten the stakes and impact of criticism? In Track a handbook for art criticism, twenty-five art writers and editors share strategies for critical writing and editing that show how articulating goals and values can lead to more thoughtful publishing practices and actively challenge structural inequalities within the art world. Collecting case studies, conversations, manifestos, and reflections on the technical and ethical choices that writers and editors face, Track changes is a rigorous, practical, and supportive guide to art criticism―a mentor in book form. The chapters follow the stages of the editorial process, at each step examining the field’s assumptions, foregrounding strategies for solidarity and reparative decision-making, and envisioning an intersectional feminist approach. With contributions Kemi Adeyemi, Andy Campbell, Erica Cardwell, Re’al Christian, Aruna D’Souza, Leslie Dick, Amy Fung, Merray Gerges, Annie Godfrey Larmon, Ariel Goldberg, Yves Jeffcoat, Dana Kopel, Yaniya Lee, Dessane Lopez Cassell, Jessica Lynne, Tausif Noor, Ashley Stull Meyers, Lindsay Preston Zappas, Kristina Kay Robinson, Jillian Steinhauer, Ana Tuazon, Monica Uszerowicz, Wendy Vogel, Emily Watlington, Elisa Wouk Almino.

Genres: Art

256 pages, Paperback

Published August 1, 2023

Reviews

[Mia F]

I loved this book, even more than I was expecting to. I’m not an art writer but I found myself both inspired and challenged by the prospect of trying. So many new ideas to me in such a small and easy to read format. Thank you!

The book does an extremely good job of centering the non straight white male artist and critic. I wish that it had done more to engage with the non liberal-arts-degreed-big-city-dwelling-art-world-acquainted viewer/reader. I’m so interested in how art instituons and publishers can better reach normal working people who love art but don’t take the time to read reviews or visit smaller art spaces. I think that’s the core of another serious accessibility problem facing the art world. It’s also an area where class, just as much as identity, need to be brought into the conversation. I would have loved to read the contributors’ takes on this.

[truthnwisdom · Rating 3 out of 5]

I had been searching for books that might offer insights into art writing: something that could help me better understand what it’s all about. Perhaps wistful thinking of a dummy guide to art writing. This book, a collection of essays by different writers and artists, didn’t really answer that need. Each essay is clearly written in a distinct voice, framing what the author is interested in or how they position themselves within the art world. All are strong writers in their own right, and their approaches vary in style and sensibility. I particularly like Leslie Dick’s essay Soft Talk; she’s so thoughtful in her approach. While the book did not quite accelerate my own writing as I had hoped, or provide a magic formula to it, the variety of content did give me a real flavor of preoccupations and challenges that have plagued art writing.

[Kimberly Corliss · Rating 3 out of 5]

Ultimately conflicted on this one. Many great reminders about the importance of empathy in art criticism. I’m glad the book exists and that I read it. But does it undermine its mission by including so many jargony passages that could be exclusionary to some readers? Could the book have been a little less repetitive and more accessible if the work was considered as a single body rather than a patchwork of many pieces? Should I not have read the essays so quickly or sequentially? Is a degree of the aforementioned jargon necessary to be taken seriously by the reigning art criticism gods of today?

At any rate, I’m grateful for this book, which should be read far and wide, despite my (minor) reservations.

Thanks to the editors for assembling such a rich mix of voices.

[Robin · Rating 5 out of 5]

Described by the editors as a "mentor in book form," this book walks through every stage of the writing process from pitch to revision for publication. Not just for art critics, I think this is a great guide for anyone writing "criticism," literary or otherwise. It explores many questions about how to approach a work, what and who criticism is for, and how to account for politics and ideology (or whether they should have a role at all), providing an individual with a guide that allows the critic to answer such questions for themselves.

[isa · Rating 5 out of 5]

"But when I write, especially for people who don't read much about art, what I'm saying is: Come look. This thing is worth your time. It's bizarre and beautiful in its own way and maybe a bit of bullshit too. And if you stick around long enough, if you're open, it just might change you."

An affirmative manual that there's no one right or wrong way to be an arts writer 💞