Interpretation Matters

Dr Abigail Harrison Moore has had a chapter published in The Interpretation Matters Handbook, a new book about the writing produced by art galleries for public information.

In their co-written chapter, Art Space: Thinking-Making Interpretation, Dr Harrison Moore (Head of the School of Fine Art, History of Art and Cultural Studies at the University of Leeds) and Amanda Phillips (Learning and Access Officer, Leeds Art Gallery) detail their collaboration for the Interpreting Cultures module as part of the University’s MA Art Gallery and Museum Studies. Through this module, Amanda has introduced Art Space at the Leeds Art Gallery to many of our students as an example of interpretation practice and has encouraged them to think about questions such as ‘who do we interpret for’ and ‘how do we recognise and acknowledge subjectivity in interpretation practice?’

The Interpretation Matters Handbook (Black Dog Publishing, April 2015) aims to challenge preconceived ideas and interrogates accepted notions of the art language used in galleries. A strand of the Interpretation Matters project (supported by Arts Council England), the book wonders if simpler language can be used to communicate better — because good writing matters.

The book’s editor, Dany Louise, says of The Interpretation Matters Handbook:

‘Between occasional rants, deconstructions of words and phrases, brilliant images, visitor voxpops, excellent contributions from experts in the field, along with the odd impulse to rewrite in bold felt tip, there are serious discussions in the book about written interpretation practice. If you're a regular gallery visitor, work in the visual arts, study art or curating, then this is the book for you.’

The book, described as an ‘invaluable guide to all things artspeak’, contains interviews and features from top arts professionals, including:

• Dr Penelope Curtis explaining her thinking behind the ‘Walk Through British Art’ at Tate Britain — with responses to Tate by three arts professionals;
• Artists Richard Wilson, David Blandy and Emily Speed, who share their experiences of being written about by galleries;
• Renowned curators Lewis Biggs, Omar Kholeif and Gerardo Mosquera, who reveal their approaches to interpretation for exhibitions they curate around the world;
• Simon Martin, Artistic Director of Pallant House Gallery in Chichester, who explains their approach.Artists Luborimov-Easton, who defend their use of art language — with a response by artist and writer Alistair Gentry;
• Writer and critic Dany Louise, who shares why she thinks good writing really matters, and explores the different facets of a complex subject.

Dr Harrison Moore said:

‘Writing the chapter with Amanda has enabled us to reflect on how we have engaged the students in the practice of the education team at the Leeds Art Gallery over the last few years. Amanda has always generously hosted placement students from the programme and many of them have had the chance to engage with and influence the interpretation practices in Art Space as a part of their learning on the masters programme at the University of Leeds.’