Editing art-critical texts and catalogue essays

I have worked on numerous projects for clients in the art world, publishing, academia, and business. Among them:--Guided established photography critic through her first book-length project, from refining and sharpening original concept through structural decisions, initial draft, revisions and final draft, with extensive editorial consultation throughout.--Edited essays for exhibition catalogues on prominent contemporary artists--Designed and executed research plan for a… Show more I have worked on numerous projects for clients in the art world, publishing, academia, and business. Among them:--Guided established photography critic through her first book-length project, from refining and sharpening original concept through structural decisions, initial draft, revisions and final draft, with extensive editorial consultation throughout.--Edited essays for exhibition catalogues on prominent contemporary artists--Designed and executed research plan for a project on the cryptocurrency Bitcoin--Advised literary client on how to structure and begin writing her memoirs Show less

Think tank and intellectual forum

"The Same River Twice" (Knopf, 2010), a novel"Singing into the Piano" (Knopf, 1998), a novel"Traffic and Laughter" (Knopf, 1990), a novel"Easy Travel to Other Planets" (Farrar, Straus & Giroux, 1981)

currently at work on fifth novel, "Shadow and Silhouette"

I am working on my new novel, "Shadow and Silhouettte," during this renewable appointment by New York University's Institute for the Humanities.

I edited all the copy for this journal on African art, which I co-founded with Faustino Quintanilla. Among my decisions was to redesign the traditional format for academic journals of whatever stripe, eliminating outdated features of the style, while retaining all the substantiating references. I edit the journal to be read rather than footnoted (though it will be footnoted widely). Traditional scholastic style is, it often seems, intended to be annoyingly impenetrable. I'd like to try my… Show more I edited all the copy for this journal on African art, which I co-founded with Faustino Quintanilla. Among my decisions was to redesign the traditional format for academic journals of whatever stripe, eliminating outdated features of the style, while retaining all the substantiating references. I edit the journal to be read rather than footnoted (though it will be footnoted widely). Traditional scholastic style is, it often seems, intended to be annoyingly impenetrable. I'd like to try my method with other such publications--a find of slimmed down, overclocked version of the Chicago Manual of Style in tandem with strategic editing to give these articles some drama and speed. Show less

I teach a very selective seminar for 2nd-year grad students in studio art. Its nominal purpose (which it does in fact accomplish) is to help art students improve their writing skills, both for use in their art-making and as a professional asset. In truth, though, the course is much more than that and might more aptly be titled "Survival Skills for Those Entering the Art World." Or maybe "Bootcamp for Artists." It works to a degree that surprised even me. A great pleasure.

Was responsible for all editorial aspects of the magazine, including, commissioning articles and reviews, editing and rewriting same, keeping abreast of all developments in the international art world and coming up with new ideas about how to best cover them. Finely tuned diplomatic/people skills were a must. I can edit anyone and anything by now, and have taught numerous now-well-known art critics and curators how to write--in most cases virtually from scratch. Since I am myself a writer, I… Show more Was responsible for all editorial aspects of the magazine, including, commissioning articles and reviews, editing and rewriting same, keeping abreast of all developments in the international art world and coming up with new ideas about how to best cover them. Finely tuned diplomatic/people skills were a must. I can edit anyone and anything by now, and have taught numerous now-well-known art critics and curators how to write--in most cases virtually from scratch. Since I am myself a writer, I know how to handle delicate egos, as well as apparently intractable situations. Show less

I was the sole editor of "Ghost of Chance," a novel by William S. Boroughs, Jr, (illustrated by George Condo), published by the Whitney Museum. In this capacity I worked closely with the author, helping him to rewrite and restructure this 237-page manuscript.

Solicited and edited fiction for the magazine, some copy-editing, etc.