Featuring sixty years of the Situationist International, Tal R on superficiality, the future China of Cixin Liu, Lucas Arruda’s landscapes, international exhibition reviews and previews, opinion, book reviews, The Strip, I. Kurator and more

In ArtReview’s extended Summer issue, a focus on what the audience brings to the art. In the conceptual photography of Buck Ellison, images seemingly snapped from within the intimacy of wealthy households are rich in details with the power to repel, attract and implicate the viewer. In Richard Bosman’s atmospheric paintings of blind detectives and rainy city streets, a fellow painter sees not the storyboards of an American film noir but the depiction of what it feels like to be an artist. And a profile of Masaaki Yuasa highlights the anime director’s gonzo sensibility when it comes to toying with audience expectations and artistic conventions. Elsewhere in features, an essay examining the state of critical ocean studies; a look into the effect of NFTs on visual culture; an analysis of Katia Kameli’s videowork Le Roman algérien; and an interview with FRONT International Triennial artistic director Prem Krishnamurthy. Plus exhibition reviews of Virginia Overton, Carrie Mae Weems and Fiona Connor, and reviews of the latest in art history, cultural commentary, fiction and poetry publications.

ArtReview’s cover story for May concerns the work of Ibrahim Mahama, the artist at the forefront of discussions around museology in Africa, where he is leveraging his fame and influence to shape the creation of arts institutions in his native Ghana and across the continent. J.J. Charlesworth examines the return of magical thinking in contemporary art, an event as regular as the passing of a comet. Rosanna McLaughlin writes about the migration of queer theory from the margins to the mainstream, asking: is this a triumph or a sign of psychic malaise? And Tabita Rezaire contributes a portfolio of work on the subject of spiritual journeys. Also in this issue: responses to the Venice Biennale, fake artworld friends, the favela and the art fair, and war photography in a phone booth. Plus exhibition reviews from Berlin, New York, LA, Zürich, Paris and Edinburgh, and a consideration of strawberries and meringue as a metaphor for the UK’s cost-of-living crisis

The April issue of ArtReview takes the world’s most celebrated art gathering – the Venice Biennale – as an excuse to look at the work of artists who refuse to perform at such events. Although the artists in question are both showing at this year’s Biennale (23 April to 27 November): Maria Eichhorn, representing Germany on this occasion, and the Croatian representative, Tomo Savić-Gecan. What’s important is that they are doing it on their own terms, by refusing to engage in the culture of spectacle inherent to such occasions. Also in this issue: film, fashion, photography and Brazil’s avant-gardes, plus exhibition reviews from Piraeus, Paris, Honolulu, LA, New York, Seoul, Rome, London, Berlin and beyond

Two years on from the start of the pandemic, ArtReview zooms in artists who reflect on the body as a both fragile and resilient vessel and engage with care as practice. Featuring Sidsel Meineche Hansen, the Danish artist exploring our bodies as a site of resistance against a policed state; Gala Porras-Kim on giving agency to the dead and why museums need spiritual caretakers; Jesse Darling’s odes to fragility under capitalism; Nairy Baghramian’s bodily sculptures; and a critical look at the artists meaningfully mining the potential of digital art in the era of NFTs. Plus the usual mix of opinions, exhibition reviews and book reviews.

The January & February issue of ArtReview focuses on bodies and networks, and materiality and virtual reality, to look at the various ways physical and non-physical worlds overlap or collide. Featuring the gut-universe of Dafna Maimon, Fiona Glen on digital world-building as a means of exploring relationships between human and nonhuman entities, Noémie Goudal’s illusions of landscapes, and a satire on the role of the art critic in the age of environmental crisis. Plus the usual mix of opinions, exhibition reviews and book reviews.

ArtReview’s Power 100 – the annual ranking of the most influential people in art, now in its 20th edition – looks at the contingencies and continuities of an artworld that, along with everyone else, is working hard to pull itself back together. Faced with a long list of challenges and preoccupations, how is the artworld faring, and what lessons has it learned along the way? The ArtReview 2021 Power 100 makes its case.

In ArtReview’s November issue, topics surrounding poverty and injustice are mediated via social economies of the artworld. In the sometimes-controversial work of Renzo Martens, the Dutch artist places the economics of the artworld in the context of the economics of the ‘real’ world. Rosa Aiello’s videos and installations, meanwhile, explore the worlds of freelance and precarious work. Plus texts on Lynda Benglis, Shirin Neshat’s latest body of work, Land of Dreams, contrasting design languages on view in London, an intertwining of art and psychiatry in Brazil, and how the artworld’s embarrassed nostalgia makes itself known. Plus book and exhibitions reviews from cities around the world.

With return-to-work orders in place and the artworld shifting fully back into gear, ArtReview this month is focused on examples of networks, collaborations, cosmologies and kinship, seeking refresher courses in how to interact with the outside world. Among the people and topics covered: Torkwase Dyson, Jaider Esbell, Deana Lawson, Anicka Yi and the gradual disappearance of an underground art scene in London. Plus columns on racist memorials, environmental catastrophes and the role of technology in creating a sustainable future, and reviews of major art events including the Bienal de São Paulo, as well as tours around Berlin’s and Copenhagen’s most interesting spaces.

ArtReview’s September issue is out now, with a focus on modes of communication and language. Featured this month: South African artist Dineo Seshee Bopape talks about the dangers and benefits of becoming lost in a narrative and getting spoon-fed information that has been edited by someone else; Glenn Ligon’s text-based paintings separate the visual and literal meaning of words; British artist Sue Tompkins explores the ‘endless affective possibilities of verbalisation’ in music, performance art and painting, and her newfound TikTok fanbase; and Chinese painter Liu Ye seeks a universal visual language. Also in this issue are reviews of artists including Simon Fujiwara, Ja’Tovia Gary, Spencer Finch, Bruce Nauman, Maurizio Cattelan and Jade Montserrat. Plus the regular mix of opinion, book reviews and back-page musings to keep you content throughout September.

In the Summer issue, ArtReview looks to artists whose artmaking is about the creation of private worlds. Featured in this issue: a profile of Nairobi- and London-based painter Michael Armitage ahead of his summer exhibition at the Royal Academy; Ines Doujak’s surreal works that confront historical and present injustices; Mexican sculptor Ángela Gurría’s love of rocks; New Orleans photographers Chandra McCormick and Keith Calhoun reflect on their city’s resilience towards disaster; and Rindon Johnson explores his identity as a Black trans American through language. Words, he says, are “the most liberatory thing we’ve got”. Also included are exhibition reviews by Lucy Raven, Lindsey Mendick, Sula Bermudez-Silverman, Charles Gaines, Jim Lambie and Joachim Koester. Musician and filmmaker Flying Lotus is the latest artist to sit down with Ross Simonini for a free-wheeling conversation, plus the regular mix of opinion, book reviews and back-page musings to keep you content throughout the summer

It may be too early to talk about an artworld emerging from the hibernation of the pandemic era, but it’s not too soon to speculate about what that world might look like. Perhaps a butterfly, perhaps a moth, perhaps an entity more alien still. In this issue: artist Jamian Juliano-Villani discusses her plans for a new type of gallery, Rodney LaTourelle checks in on Qaumajuq, the new centre for Inuit art in Winnipeg, Sarah Jilani looks back on the long life of the late Egyptian physician, writer and activist Nawal El Saadawi, En Liang Khong talks to Marxist climate-scholar Andreas Malm about reaching the point where words are no substitute for action, Cat Kron takes a look at how the lockdown work of Meriem Bennani is focused on shifting the focus from the artworld’s centres to its peripheries, and Poulomi Basu presents a photographic portfolio that focuses on the violence perpetrated against women in rural Nepal. Plus international gallery and book reviews.

Most of us have had to engage with technology in novel ways over the past 12 months as it dominates how we communicate and map our world. How much of this is here to stay, and will the way art is produced and experienced change as a result? In this issue J.J. Charlesworth dives headfirst into the overheated hype surrounding NFTs to find out if anything is going to stick. Martin Herbert reads the warnings implicit in Pakui Hardware’s explorations of bio-power. Sarah Forman enters the delusional, multimedia world of Chinese artist Lu Yang, navigating the fields of performance, 3D avatars, videogames, and Hindu and Buddhist philosophy. Mark Rappolt talks to Mika Tajima about a body of work that fuses the traditional, the contemporary and the futuristic as the New York-based artist explores the psychic and bodily effects of a life lived under a technocapitalist regime. Juliet Jacques looks back to a historical technological turn in the form of celebrated Austrian painter Maria Lassnig’s largely forgotten experiments with moving image, newly restored and released this month. Plus an interview with the Brooklyn-based artist Win McCarthy, reports from New Delhi, Singapore, Hanoi, Chiang Mai, Berlin, Paris, New York, Cologne, and reviews of the latest publications in art, fiction, design and material culture.

ArtReview knows better than to try and predict what will happen in the coming months, so in this new issue we turn to the subversive potential of imagination as a way out and forward, a catalyst for change. In particular, we look back on the work of the late Izumi Suzuki, the countercultural icon and sci-fi legend who, starting in the 1960s, revolutionised the genre of science fiction in Japan. In this time of malaise and isolation, Los Angeles-based Iranian artist and writer Gelare Khoshgozaran speaks to the value and power of dreams. Her latest film, delivered through the post box of one of ArtReview’s contributors, is a fractured, unfinished dream diary that points towards ‘a desire for escape, from the ruin, the virus, the violence’. From dreams to new forms of representation, we speak to Deutsche Börse Photography Prize-winner Mohamed Bourouissa as he prepares for a retrospective in London, with works that negotiate the visibility and portrayal of marginalised communities in different parts of the world. And artists Maurizio Cattelan and Chen Zhen speak to each other across the years and from opposite sides of the great divide (the Chinese-French conceptual artist died in 2000) about Chen Zhen’s new exhibition in Milan. Elsewhere, Tala Madani tells Ross Simonini about fighting conservatism with transgression. Plus Su Hui-Yu, Feral Atlas, a subversive rehanging of art in São Paulo, a roundup of Paris gallery offerings and reviews from London, Rome, Bangkok, New York, Dubai and Seoul. Plus reviews of the latest book releases.

The December issue features the nineteenth edition of the Power 100, ArtReview’s annual ranking of the contemporary artworld’s most influential people and movements. After a year of enormous social and cultural upheaval, Black Lives Matter takes number one position, its unprecedented influence signalled not only by the overarching position on the list – the first time a movement rather than an individual has been at the top of the Power 100 – but also in the shaping of this list. It is followed by Indonesian collective ruangrupa, curators of documenta 15, and advocates of collective and collaborative practice, while at number 3 are academics Felwine Sarr & Bénédicte Savoy, champions of museum restitution. The #MeToo movement is at number 4, and philosopher Fred Moten is number 5. Accompanying the Power 100 is a series of interviews with the people reshaping definitions of power in the artworld today. Academic Bénédicte Savoy talks about restitution; activist philanthropist Darren Walker discusses his role in the postponement of the Philip Guston Now exhibition; artist Sammy Baloji speaks about co-founding the Lubumbashi Biennial; Green Papaya Projects reveal the trials and tribulations of the Manila off-space; curator Laura Raicovich delves into museum ethics; and founder of the Artists’ Support Pledge Matthew Burrows suggests a new economy for the artworld. Plus: Ross Simonini talks spirituality and creativity with David Lynch; and two portfolios of powerful photography from Joshua Rashaad McFadden, documenting the experiences of Black people in the US, in the face of police brutality historic and systemic racism, and Kilii Tüyan exploring the everchanging relationship between the human and natural worlds. 

With new restrictions and control measures coming into force in many places, the November issue of ArtReview takes a look at the rule breakers, the definition stretchers and a variety of challenges to what we perceive as normal. On the cover is American painter and sculptor Nicole Eisenman, who, in reimagining the world through her art, explores new codes for the representation of gender in the public realm. Rosanna Mclaughlin investigates the implications of the ‘male genius’ mythology surrounding the Casa Mollino in Turin. Also featuring a focus on the rich history of Somankidi Coura, a self-organised agricultural and cultural cooperative in Senegal; a newly commissioned collage by Brooklyn-based Kameelah Janan Rasheed; and a profile of cult Armenian filmmaker Artavazd Pelechian. Plus an interview with musician and writer Johanna Hedva, book and exhibition reviews including Grace Before Jones, a survey of the pop-icon’s legacy, and Eula Biss’s new nonfiction, Having and Being Had, on becoming middle-class.

The October issue marks a significant moment: put together during a period in which, in Europe, the pandemic’s progress slowed, it arrives on the crest of a new art season, full of hope, promise and some trepidation. With insightful views on the present from British artists Helen Marten and Ollie Dook, Portuguese artist, psychologist and writer Grada Kilomba and Indian artist Shilpa Gupta. Also featuring the final interview given by Chilean artist Lotte Rosenfeld, who died in July. Plus a text on dread in contemporary art – and whether artists might get better at invoking the feeling following this extended period of uncertainty and, yes, dread. That said, art is being made and shown far and wide, reflected here in reviews from the Berlin Biennale, Prague’s gallery weekend, Los Angeles, New York and London. Plus books, opinion and a portfolio of work by Indigenous Australian multimedia artist Destiny Deacon

This issue includes an essay on what a poor art might look like; a conversation on the future of art between Liam Gillick and J.J. Charlesworth; and an analysis of the conservative drift in liberal thinking of recent decades. Martin Herbert contributes to an ArtReview series examining single works, in this issue Kris Martin’s handwritten copy of Dostoevsky’s The Idiot; Chris Fite-Wassilak looks at the work of Sara Cwynar; Ross Simonini interviews Farah Al Qasimi; and Patrick Langley continues his investigations into sound with a focus on museum tours on radio. Plus state-of-play looks at art scenes in New York, by Rahel Aima, and Los Angeles, by Cat Kron, as well as expanded coverage of recent books.

In the face of COVID-19, and the various injustices it has unmasked and exposed, the rarefied world of art has been quick to adopt a rhetoric of togetherness. The new issue of ArtReview asks: what does solidarity look like in a discipline that traditionally privileges individual expression?

Featuring Catherine Opie, Tomás Saraceno, Adam Farah, Roman Signer, a project by Laure Prouvost, and thoughts on what the ‘Artist of the Future’ might look like


Featuring Roee Rosen, Wong Ping, Anna Witt, Pedro Neves Marques, Huma Bhabha, a guide to the best exhibitions this month, our regular columns, reviews, books and more

Featuring the poetry of VALIE EXPORT, the paintings of Thu Van Tran and Lari Pittman, the films of the Karrabing Film Collective and the story of how an artwork became the basis for a land claim

Featuring Vivian Suter in her element, the erotic socialism of Cecilia Vicuña, the surreal photographs of Tim Walker, Elisabeth Lebovici and Patricia Falguières on art criticism in France, exhibition and book reviews and more

Featuring the ranking of the most influential people in the artworld, plus the year in art (and in the real world), reports from Mexico City, Dublin, London and São Paulo and more

Featuring race, power and performance in the work of Pope.L, the legacy of Nam June Paik, Mark Bradford in Shanghai, plus breakfast with Gabriel Kuri, art in times of Brexit, an art detective story, exhibition and book reviews and more

It’s a pandemic! A Drunk Pandemic! Leading the September issue of ArtReview is a special project by Chim↑Pom that spreads from the cover deep into the pages of the magazine, connecting the dots between Europe’s nineteenth-century cholera epidemics, beer-brewing, urine and contemporary Tokyo’s sewage system. A different kind of contamination is at the heart of a feature considering the cross-pollination of Brazil’s musical and artistic scenes with political resistance, from the era of Bossa Nova to today. 
Meanwhile, Chris Fite-Wassilak wonders whether a tendency towards the use of voiceovers in recent video art is a conscious response to the wider political climate in which ‘everyone is angling to speak over, on top or past each other, just not to each other’. Profiles of Rayyane Tabet and Dayanita Singh look at artistic strategies that attempt to offset assumptions and firmly delineated contours: the Beirut-based Tabet by playing on slippage between form and narrative, object and context; and New Delhi-native Singh by ceaselessly reframing the definition and possibilities of photography as art. 

Stephen Shore, whose latest series, Details, has just had its UK debut, speaks with Fi Churchman about the disciplined restlessness to his pursuit of creating photographs and why the touchscreen Hasselblad he’s using now is the first genuine twenty-first-century camera. Penny Slinger’s explorations of female sexuality and mysticism, primarily through film and photocollage featuring herself, were at the heart of the cultural ferment of late-1960s London; here J. J. Charlesworth revisits the artist’s oeuvre, particularly its performative aspects. Meanwhile Mark Rappolt looks at the stories – fictional, conceptual – driving Ryan Gander’s recent projects. Plus the full complement of previews, exhibition and book reviews, artist profiles, artist commissions and opinions from the magazines’ regular columnists. 

Featured

Isuma
At the Canadian Pavilion, the Inuit collective disputes the ideas of nationhood and representation on which the Venice Biennale was founded. By Mark Rappolt

Christoph Schlingensief
Carl Hegemann recalls his days working with the late German provocateur and wonders whether his unapologetic brand of art-as-activism would still exist today

Franz West
With the late Austrian artist’s retrospective landing at Tate Modern, London, Rosanna Mclaughlin considers what made his sculpture so appealing to the public

Merchants of Venice: The Venice Biennale through the archives
by Bernard Denvir, J.P. Hodin, Michael Shepherd, Charles Spencer

Looking at Pictures with William Eggleston
Fi Churchman meets the pioneering American photographer

Featuring Andrea Fraser, Marina Warner in conversation with T.J. Clark, war photography in the gallery, the new MK Gallery, Tishan Hsu and more

The first issue of Art News and Reviews (as ArtReview was then called) was published on 12 February 1949, by Richard Gainsborough, a retired doctor, and his wife, the designer Eileen Mayo. To celebrate its 70-year anniversary, ArtReview has attempted to tell the story of some of the debates that animated its pages, as well as to chronicle some of the issues with which art has concerned itself over the past seven decades. In that sense it is not a collection of greatest hits (indeed this anthology does not find space for many of the magazine’s best-known writers), more an initial step towards opening up the rich resources in ArtReview’s archives to a general audience and as a site of broader debate…

Future Greats: our annual guide to the artists who are setting new agendas in relation to the role and social relevance of art, selected by fellow artists, critics and curators

Summer 2022

May 2022

April 2022

March 2022

January - February 2022

December 2021

November 2021

October 2021

September 2021

Summer 2021

May 2021

April 2021

March 2021

December 2020

November 2020

October 2020

Founded in 1949, ArtReview is one of the world’s leading international contemporary art magazines, dedicated to expanding contemporary art’s audience and reach. We believe that art plays a vital role in inspiring a richer, more profound understanding of human experience, culture and society today. Aimed at both a specialist and a general audience, the magazine features a mixture of criticism, reviews, reportage and specially commissioned artworks, and offers the most established, in-depth and intimate portrait of international contemporary art in all its shapes and forms.

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ArtReview UK - October 2017

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