New approaches to writing are everywhere in evidence across the contemporary art world. In Los Angeles, home of East of Borneo, XTRA, Les Figues Press, MATERIAL, and the Journal of Aesthetics and Protest, to name a few venues where art meets writing, critical and discursive engagement with art and art writing is especially pronounced.
In 1967, Agnes Martin left New York City, where she had been living for a decade. She traveled for two years in Canada and the American West before settling on a remote New Mexican mesa, building a house by hand, and living in relative isolation for the remainder of her years.
These last works especially bait other kinds of readings, not least in their figuring of semiotic becoming: the shapes suggest a human form seen from behind against a monochrome or gradient ground, with the orb standing in for a head and its base then legible as shoulders.
Roger Cardinal coined the term outsider in 1972, using examples of European art, and specifically the work of psychiatric hospital patients collected by the artist Jean Dubuffet under the heading of Art Brut.
Richard Shiff ends his essay, Reality By Chance (2014), on a proposition that concerns precariousness, understood rather more felicitously as the necessary condition for lucks possible attainment