58:'s notion of the hyperobject. Jeppesen himself has acknowledged these connections, yet claims that when he first coined the term object-oriented writing, he was unaware of these philosophical currents. It locates itself within the work of art, rather than outside, and attempts to infest the inanimate art object with human agency via the act of writing. Object-oriented writing has further been compared to nature poets' attempt to inhabit nature through language. Others have argued that "object-oriented writing is concerned with the distance between the writer and the object, a distance it tries to disavow."
39:, though Jeppesen has also brought more traditional modes of narrative, as well as dramatic monologue, into the mix. In later essays, Jeppesen would characterize object-oriented writing as a "bad writing" or "wild writing" practice, in which failure was meant to not only be confronted, but incorporated into the final results, in line with what he has characterized as the innate impossibilities of writing to effectively convey meaning.
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sixteen sculptures from throughout the history of art to re-create in the medium of language. The style of the resulting texts ranges considerably, including monologues, dialogues, rants, songs, poems, and epiphanies, among other, more hybrid or inventive forms, all of them evasive of the tropes of traditional art criticism. For example, in his re-creation of the
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feelings of frustration over the stylistic limitations of contemporary art criticism. Over the next few years, Jeppesen worked on the development of object-oriented writing as a hybrid creative-critical practice. At its root, object-oriented writing attempts to re-create pre-existing works of art in the medium of language. The resulting texts often resemble
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The genesis of object-oriented writing was
Jeppesen's desire to fuse the creative and critical aspects of literary work into a single hybrid form. In October 2011, Jeppesen published a text on his website describing object-oriented writing, a new form of writing he invented in response to these
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manifested in the form of a book published by
Publication Studio, but also an audio installation, in which visitors to the gallery sat in chairs and put on black glasses that blocked out their vision and listened to audio recordings—or "evocations"—of the texts on headphones. Jeppesen selected
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as "bitingly humorous, but nevertheless intensely critical," concluding "Jeppesen leaves us wondering who speaks for artworks and, perhaps more important, how they speak." Writing about the 2014 Whitney
Biennial, the
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In its proposition of a metaphysics of art writing, object-oriented writing has often been compared to parallel developing movements in contemporary philosophy such as
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189:. In addition, Jeppesen has discussed a project in which he approaches natural phenomena, namely glaciers, through object-oriented writing.
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While he had published several texts of object-oriented writing previously on his website and in selected art and literary publications,
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has also been translated into
Mandarin and was featured in a group exhibition in Beijing at the now-defunct Minority Space in 2017.
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noted, "Jeppesen dematerialized the sculptures and brought them back into the realm of ideas."
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As an avant-garde literary practice, object-oriented writing has also been compared to the
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was the subject of a critically acclaimed solo exhibition at
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is a literary and visual art practice developed by the
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is considered to be
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has drawn connections between object-oriented writing and
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