David Levine and Alix Rule are taking ArtSpeak seriously, according to The Guardian:
“Art English is something that everyone in the art world bitches about all the time,” says Levine, a 42-year-old American artist based in New York and Berlin. “But we all use it.” Three years ago, Levine and his friend Rule, a 29-year-old critic and sociology PhD student at Columbia university in New York, decided to try to anatomise it. “We wanted to map it out,” says Levine, “to describe its contours, rather than just complain about it.”
They christened it International Art English, or IAE, and concluded that its purest form was the gallery press release, which – in today’s increasingly globalised, internet-widened art world – has a greater audience than ever. “We spent hours just printing them out and reading them to each other,” says Levine. “We’d find some super-outrageous sentence and crack up about it. Then we’d try to understand the reality conveyed by that sentence.”
Next, they collated thousands of exhibition announcements published since 1999 by e-flux, a powerful New York-based subscriber network for art-world professionals. Then they used some language-analysing software called Sketch Engine, developed by a company in Brighton, to discover what, if anything, lay behind IAE’s great clouds of verbiage.
Their findings were published last year as an essay in the voguish American art journal Triple Canopy; it has since become one of the most widely and excitedly circulated pieces of online cultural criticism. It is easy to see why. Levine and Rule write about IAE in a droll, largely jargon-free style. They call it “a unique language” that has “everything to do with English, but is emphatically not English. [It] is oddly pornographic: we know it when we see it.”
A user’s guide to artspeak (The Guardian)