Tina Rowe

educating tina

Week three tidied up and put away at OSE. This was the one where my pocket account got a bit full with all of the new names, that everybody else seems to know about and I just kind of spluttered along like some wanky old fucker. I should temper my personal irritation with the fact, at the end of the day, I’ve seen the most dawns and dusks, so I’m the winner.

I know I should be writing all kinds of reflective balix about how I am growing as an artist or something like that, but I just don’t have the nuts to do it. I have work, lots of work, filling up the spare room right now because my studio is arctic as is the studio at OSE, but I have got all shy about writing about it. How up myself am I? No idea.

I could reflect a bit about reading and writing as I have been making inroads to the Goldsmiths library with my pocket based reading list. It is good to have some notion of what I am actually trying to read around instead of just launching myself at some shelving and hoping that what I get isn’t impenetrable shyte. Usually it is. With this experience fresh in my life, I was properly alienated by the beginning of John Douglas Millar’s session because it was ostensibly about art writing and my, limited, art reading has really given my curmudgeon tendon quite a twist over the past two years. But during the session I was introduced to Georges Perec’s Attempting to Exhaust a Place in Paris which is without a doubt the best thing I have ever read. Apart from the other ones, but, y’know. But I liked, no loved it and later, paid real money for that book because it is a massive photograph taken from the very best spot you can ever not take a photograph from.

There was more, lots more. I really expected to hate the art writing session, but I loved it and then I went out and read a lot more art writing.

if you want the book you can get it here:


An Attempt at Exhausting a Place in Paris
An Attempt at Exhausting a Place in Paris

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