I do think the question of how you translate visual material into language invites a lot of political questions as well. When you look at an art object which is also a commodity, the way that you choose to describe it motions toward several different parties that have colluded to create and present that object.
I’m sure I will regret this, but, I don’t know, I try to remember when I’m writing about anything and especially when I’m writing about art, it is important for me, Tobi Haslett, to maintain some sort of political fidelity to the project of dismantling capitalism. I know that that won’t occur because I’m writing in a glossy magazine. The most I can hope for is probably some slight futile reorientation of the reader’s sensibilities, and I pride myself on knowing that most people don’t even get that. So, when I think about what it actually means to translate visual material into linguistic material, I recognize that that’s also a part of an ideological process. I don’t say that as a way to deride it, but more as an invitation to kind of inject it with your own sensibility, your own thoughts about the world, and to be reflexive about the way that you have been taught or have taught yourself to interpret things.