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| Photo from Emmanuel Dunand/AFP/Getty Images |
If you've been to see contemporary art in the last three decades, you will probably be familiar with the feelings of bafflement, exhaustion or irritation that such gallery prose provokes. You may well have got used to ignoring it. As Polly Staple, art writer and director of the Chisenhale Gallery in London, puts it: "There are so many people who come to our shows who don't even look at the programme sheet. They don't want to look at any writing about art.""International Art English" is a great neologism. IAE is the patois of the ignorant attempting to describe the ineffable.
With its pompous paradoxes and its plagues of adverbs, its endless sentences and its strained rebellious poses, much of this promotional writing serves mainly, it seems, as ammunition for those who still insist contemporary art is a fraud. Surely no one sensible takes this jargon seriously?
David Levine and Alix Rule do. ...
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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."
I am so happy with that last sentence, I should stop. But ...


