In his most recent work, Travis Jeppesen posits the notion of ‘editionality’ in order to concretise a practice of what has variously been referred to as ‘art writing’ or ‘writing in the expanded field’. While working in traditional media—publishing his work in the form of novels, volumes of poetry, and essays in art magazines, Jeppesen has recently worked to erase the occupational divide between ‘visual artist’ and ‘writer’ through his object-oriented writing installations and performances. He conceives object-oriented writing as a writing that attempts to inhabit the object, rather than merely describe or judge it; in this sense, object-oriented writing serves as a sort of bridge between the disparate, though often surprisingly correlated fields of art criticism and poetry. 16 Sculptures, Jeppesen’s (re-)creation of sixteen sculptural works from throughout the history of art in the medium of language, continue to proliferate in numerous editional formats: as a book, sound installation (in which viewers, seated while blindfolded, listen to readings of the texts), performance, and vinyl records.
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