third mind creative writing through visual art

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Third Mind: Creative Writing Through Visual Art Paperback – April 1, 2002

The 20 essays in Third Mind—by teachers, poets, writers, artists, and museum educators from across the country—offer ideas on a diverse array of artistic disciplines, among them, quilt-making, Chinese calligraphy, abstract painting, and photographic portraiture. Third Mind also features 20 pages of gorgeous color plates, as well as an inspiring bibliography of works on visual art and creative writing.

• Print length 217 pages
• Language English
• Publisher Teachers & Writers Collaborative
• Publication date April 1, 2002
• Dimensions 6.75 x 0.5 x 9 inches
• ISBN-10 0915924943
• ISBN-13 978-0915924943
• See all details

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• Publisher ‏ : ‎ Teachers & Writers Collaborative; F First Paperback Edition Used (April 1, 2002)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 217 pages
• ISBN-10 ‏ : ‎ 0915924943
• ISBN-13 ‏ : ‎ 978-0915924943
• Item Weight ‏ : ‎ 1.2 pounds
• Dimensions ‏ : ‎ 6.75 x 0.5 x 9 inches
• #19,017 in Instruction Methods
• #23,454 in Higher & Continuing Education
• #25,371 in Writing Reference

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Third Mind: Creative Writing through Visual Art

Grades: all ages $19.95 paperback This anthology of essays about the challenges and rewards of uniting visual art and creative writing not only demonstrates how art can spark wonderful student writing, but goes much further, offering novel insights into the creative process. The 20 essays in Third Mind—by teachers, poets, writers, artists, and museum educators—provide ideas on a diverse array of artistic disciplines, among them, quilt-making, Chinese calligraphy, abstract painting, and photographic portraiture. The collection also features 18 gorgeous color plates and an extensive bibliography of works on visual art and creative writing.

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ISBN 0-915924-94-3

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Third mind : creative writing through visual art

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Art Museum Teaching

Third Mind: Creative Writing through Visual Art

“Listening to works of art and participating in a conversation with them can produce exciting and shifting responses in each of us: poems, stories, self-portraits, essays, and other creative works are generated that ‘talk back’ to the visual stimulus.” (xv)

The power of bringing together visual art and writing is something that all museum educators have likely experienced at one time or another while guiding a tour or workshop in the galleries–whether through a process of recording observations or a deeper engagement through poetry.  Writing has the ability to get students and visitors to truly “enter into” a work of art and open their imagination. While there are many excellent resources on the topic of art and writing that I use regularly (including Kathy Walsh-Piper’s Image to Word , the Weisman Art Museum’s Artful Writing , and the Philadelphia Museum of Art’s new Looking to Write resource), I keep coming back to the Third Mind: Creative Writing through Visual Art , edited by Tanya Foster and Kristin Prevallet.

Written by a range of educators, poets, and artists, the book’s chapters lay out a meaningful series of creative encounters with visual art, both within and outside the museum environment.  The chapters that have most influenced my own teaching practice are those centered around abstract and contemporary art — an area where writing (both reflective and creative) can open new pathways to meaning, especially for viewers who might be uncomfortable with work by artists like Mark Rothko, Cy Twombly, Robert Ryman, etc.

My favorite strategy in the book comes from Gary Hawkins, who recounts an experience he leads for students with Cy Twombly’s monumental Catullus at the Menil Collection . First, he situates each student in their own spot in front of the 50-foot-long canvas, mapping out an area of the painting that he designates “yours” — giving the students a real sense of ownership and accountability. Each student observes and writes on their own at first, then assembles their responses into a larger group poem that is performed in front of the painting. For this final collaborative poem, students are asked to choose 2 lines from their writing, and read their favorite line when Gary taps them on the shoulder. As he writes, “the effect of these group poems that build down the face of the painting and rise to fill the room is stunning.” And I can agree, as I’ve adapted this experience for students in front of large works by Anselm Kiefer or Gerhard Richter, and the result is remarkable. This has been the perfect exercise to digest a large, complex, abstract work piece-by-piece in a way that allows students or visitors to own the experience.

Overall, Third Mind offers up these types of experiences with language that we can adapt to our own learning environments.  In her contribution to this volume, poet Anne Waldman provides the necessary linkage between this creative, collaborative act of writing and William Burroughs’ concept of “the third mind,” which inspired the book’s title as well as its conceptual framework:

“Something new, or ‘other,’ emerges from the combination that would not have come about without a solo act.” (131)

Reposted through the National Writing Project’s Digital Is website.

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Third Mind: Creative Writing Through Visual Art

Tonya foster , terry blackhawk  ( essayist ) , gary hawkins  ( essayist ) ...more.

217 pages, Paperback

First published April 1, 2002

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Tonya Foster

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Third Mind: Creative Writing through Visual Art

by Thomas Bell

When I wanted another mind I chose a visual one. Then I moved out into spatial, gestural, and visceral minds. Once started I found out these directions were rooted in experimental approaches to poetry that began roughly 100 years ago, and beyond that back to Plato and Horace and, ultimately, to the impulse to poetry itself.

Our Cartesian world has been slow to realize again that poetry can be more than the intellectual, more than the verbal. It took the Burroughs phenomenon to bring visual, verbal, and visual-verbal (the "third mind") to general cultural awareness. Even this was resisted in some quarters: although Grove Press, which had gained a reputation for radical innovation, planned to issue Burroughs's and Gysin's Third Mind in 1970, it was not published until 1978 (by Viking).

It soon became apparent that working in the gestural mode ignited the inward prodigy of the visceral. This ignition could then express "the guts" through many modes, depending on one's inclinations and talents. What is to be said can reach expression experientially as well as experimentally, with and through the verbal, in contributor Marjorie Welish's sense of through : "A poem through abstract painting can be both expressive of the concrete register of painting and true to the medium of words, if some verbal analogue to the visual can establish itself on its own terms."

This is in contrast to the usual conception of the interaction of the verbal and visual in art and poetry—that one serves as a touchstone for the other. Many of the pieces in Third Mind: Creative Writing through Visual Art do take this view, and examine this interaction's relevance for a number of student populations in a variety of settings—making it a useful anthology for writing teachers. However this conception falls short of addressing the 'through' which is important for practitioners and for viewers/readers who seek some of the wealth contemporary art and poetry can offer.

If we look at this closely, it becomes apparent that this gesture toward realization is more a human and artistic characteristic than a property of only one single mode of mind. As Holly Masturzo writes while considering "Gestural Abstraction and the Art of Cy Twombly," "The movement of the artist's hand over and against the canvas mimics the way the body moves through the world." It seems to me that the verbal mode need not be excluded from such abstraction, as can be seen in the work of certain visual and concrete poets, such as Michael Basinski, Philadelpho Menezes, and mIEKAL aND.

When it comes to realization, poet Lee Upton makes some intriguing comments in her discussion of the time her "resistant" students may have invested in developing their handwriting. She comments: "by using handwriting as a prompt, that is, by using the visual that has grown 'unseen' in its very familiarity, students are urged to look at visual presentations dynamically and in unaccustomed ways." This is a way of using experience, of resisting the resistance or the contour of absence. And one can presumably resist one's own resistance and move forward to realization.

Rain Taxi Online Edition, Winter 2002/2003 | © Rain Taxi, Inc. 2002/2003

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Third Mind: Creative Writing Through Visual Art

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Third mind : creative writing through visual art by kristin prevallet (2002, trade paperback).

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About this product

Product identifiers.

• Publisher Teacher's & Writers Collaborative
• ISBN-10 0915924943
• ISBN-13 9780915924943
• eBay Product ID (ePID) 2285266

Product Key Features

• Publication Year 2002
• Subject Study & Teaching, Cognitive Psychology & Cognition, Rhetoric, Composition & Creative Writing, Arts in Education
• Number of Pages Xvii, 217 Pages
• Publication Name Third Mind : Creative Writing Through Visual Art
• Language English
• Type Textbook
• Author Kristin Prevallet
• Subject Area Art, Language Arts & Disciplines, Education, Psychology
• Format Trade Paperback

Additional Product Features

• LCCN 2002-000352
• Dewey Edition 21
• Illustrated Yes
• Dewey Decimal 808/.042/071
• LC Classification Number PE1404.T483 2002

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