Awards for Artists
Image of Will Holder

Will Holder

Typographer Will Holder organises writing around reproductions of artworks, and in particular how voices from various disciplines are mediated to provide meaning and access to art objects. He sees conversation as model and tool for a mutual and improvised set of publishing conditions whereby the usual roles of commissioner, author, subject, editor, printer and typographer are improvised and shared, as opposed to assigned and pre-determined.

Based in Glasgow, Holder is editor of F.R.DAVID, a journal concerned with reading and writing in the arts (since 2007). In 2014 he had a solo exhibition, HIGH ENERGY BAR, at Grazer Kunstverein, Austria and was Research Fellow at the Henry Moore Institute, Leeds throughout 2013. He co-curated TalkShow (with Richard Birkett) at the ICA, London in May 2009. Together with Alex Waterman, he edited and typeset operatic scores for Yes, But Is It Edible?, the music of Robert Ashley, for two or more voices (New Documents, 2014).

The readers of F.R.DAVID will be most grateful for the Paul Hamlyn Award’s investment in time and space, allowing the journal to evolve and become self-sustaining. Personally, I am greatly encouraged by the recognition and ability to maintain the course and conditions of my work thus far; and am grateful for the opportunity to nominate others for the award.

Examples of work


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F.R.DAVID (Words, Don’t come easy) (editor)

F.R.DAVID (Words, Don’t come easy) (editor)

Published from 2007–14 by de Appel arts centre (Amsterdam) Journal as record of reading and writing as and in relation to art objects.


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Yes, But Is It Edible? The music of Robert Ashley for two or more voices (co-editor with Alex Waterman)

Yes, But Is It Edible? The music of Robert Ashley for two or more voices (co-editor with Alex Waterman)

784 page publication of previously non-existent scores for operas by the late composer. 2014 New Documents, LA


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Yes, But Is It Edible? The music of Robert Ashley for two or more voices (co-editor with Alex Waterman).

Yes, But Is It Edible? The music of Robert Ashley for two or more voices (co-editor with Alex Waterman).

Public readings/ testing of scores for various duets, since 2010, combined for one hour performance. (edit: 7m 23s)
US and European tour, 2014: NY Art Book Fair; 365 Mission, Los Angeles; CCA Wattis, San Francisco; Yale Union, Portland; Western Front, Vancouver. 2015: Tramway (icw. LUX Scotland), Glasgow; Leeds Library (icw. Pavilion), Leeds; Café Oto, London; Fondation Lafayette, Paris; La Loge, Brussels; Kunstverein Amsterdam; Motto, Berlin.


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“Our Values Make Us Different,” 1 of 4 (Non-diegetic Hum): ‘There is a world of communication which is not dependent on words. This is the world in which the artist operates, and for him words can be dangerous unless they are examined in the light of the work. The communication is in the work and words are no substitute for this. However, there is an idea that it is a duty on the part of the artist to offer up explanations of his work to the élite who are in control of its interpretation and promotion, and the necessity of such an élite being as well-informed as possible is certain.’ Mary Martin, 1968.

“Our Values Make Us Different,” 1 of 4 (Non-diegetic Hum): ‘There is a world of communication which is not dependent on words. This is the world in which the artist operates, and for him words can be dangerous unless they are examined in the light of the work. The communication is in the work and words are no substitute for this. However, there is an idea that it is a duty on the part of the artist to offer up explanations of his work to the élite who are in control of its interpretation and promotion, and the necessity of such an élite being as well-informed as possible is certain.’ Mary Martin, 1968.

2015 © Will Holder 2015. Installation view: British Art Show 8, Leeds Art Gallery, 2015-17. Photo © Jonte Wilde Photography 2015