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…

In the September issue of ArtReview, Ross Simonini looks at Matthew Barney’s SECONDARY, the retelling of an American tragedy in a film whose atmosphere of pain and violence allows, almost incredibly, for an object of striking beauty to emerge. Novelist Khashayar Khabushani tells the story of how artist David Wojnarowicz gave the writer life from beyond the grave. Alexandra Drexelius examines the work of Isabelle Frances McGuire, an artist who seems to be answering the question of what digital visual culture might look like in material film. And Chris Fite-Wassilak speaks with filmmaker Diego Marcon about the power of traditional special effects when it comes to scaring viewers. Also: two new column series addressing, almost from opposite corners, the strengths and weaknesses of popular culture when it comes to depicting the present and imagining possible futures. Plus: the full complement of exhibition and book reviews from around the world.

In the Summer issue of ArtReview, Alexander Leissle profiles Cemile Sahin, an artist (and prizewinning novelist) whose research-rich work interrogates the military–industrial complex, technology and exile. Cassie Packard looks into Sung Tieu’s postconceptual practice as it addresses fracking in North America and explores ‘the hostility, violence and paranoia embedded in supposedly neutral bureaucratic spaces and architectures’. Emily McDermott speaks with WangShui about the uses of AI in painting, particularly as seen in the artist’s current solo exhibition at Shanghai’s Rockbund Art Museum. Martin Herbert writes about Jessie Homer French, whose paintings, given a prominent stage at the Venice Biennale last year, tackle politics ‘sideways’, and are inextricably suffused with grief. ArtReview’s columnists weigh in on topics ranging from Manchester’s newest arts and music space, the mistakes museums make when designing their entrances, the diminishing returns in artistic revivals and the role of art in inventing history. Plus reviews of the latest and most intriguing exhibitions from New York to São Paulo, Mexico City to Milan, London to Berlin, and what’s new in art, fiction, history and theory books. 

In the May issue, ArtReview looks to contemporary artists who intervene in the past to try and make sense of an out-of-control present. Frida Orupabo, nominated for the 2023 Deutsche Börse Photography Foundation Prize, mines images sourced from colonial archives, film, fashion and family albums to create collages that carve representation and empowerment from stereotype, writes Fi Churchman. In a highly personal take on Isaac Julien, Prince Shakur traces the ways in which the British artist’s work has empowered those ‘who have come after him’. And in her feature on Sarah Pierce, Judith Wilkinson writes about the multimedia artist’s current retrospective at the Irish Museum of Modern Art, Dublin, focusing on the performances that form a significant part of the artist’s oeuvre. Chris Fite-Wassilak interviews Kahlil Robert Irving ahead of his exhibition Archaeology of the Present, at the Walker Art Center in Minneapolis, in which Irving reflects on ambivalence, collage and loss. Jonathan T.D. Neil speaks with Christina Quarles on the limits of figurative painting, as her work goes on show in Collapsed Time, a solo exhibition at the Hamburger Bahnhof in Berlin. J.J. Charlesworth reflects on the findings of the latest Art Market Report, published annually by Art Basel and UBS, while collector Uli Sigg interrogates what exactly it is we want from art, and how different societies respond to this question. Also in this issue, exhibition and book reviews from around the world, including MoMA’s Signals exhibition on the history of video art; a London show touching on the racial politics of the dairy industry; and Australia’s biennial National exhibition.

In ArtReview’s April Issue: Candice Lin evinces racist conflations between biology and Asian bodies, tracing history’s tendency to recur and fold in on itself; Trajal Harrell borrows, mixes and adapts different avant-garde styles to reclaim dance as a heritage for all; Following the irony of a sculpture by Frans Krajcberg being destroyed in mob mania, his work articulates industrial devastation in eloquent sculpture; The works of Maya Lin, initially known for winning the Vietnam War Memorial competition as an undergraduate, have matured into one; Sarah Jilani investigates the colonial myth of universality at the heart of the art-repatriation debate; and in The Interview, Isabel Nolan talks about her multi-media practice through absurdism, melancholy and compensatory beauty and tenderness. Then, columns about a new line of puppy-proof Jean-Michel Basquiat rugs; Musée Picasso’s attempts to appeal to a more youthful audience; and what it means to be a woman in India today. Plus exhibition and book reviews including Peter Doig in London, Wu Tsang in Madrid and a group exhibition about Romantic Irony in Seoul.

In the March issue, ArtReview considers the state of art education, asking, ‘Who is it for?’, ‘Where should you go?’ and ‘Is it even worth it?’ From formal institutional options, to alternative education models, ArtReview explores what it means to ‘learn’ to be an artist, and what role art schools actually play today. Mixing fact, opinion, whimsy, provocation and practicalities, ArtReview identifies the options when it comes to selecting (or rejecting) art schools in North and South America, Europe, the Middle East, Africa, Asia and Australia. ArtReview also asks artists what they learned in art school, and what they would do differently if they had to do it again. Teachers and curators get their say too, in this comprehensive and contextualising analysis of institutions, alternative institutions and possible future institutions for teaching and learning to make art.

In the December issue, ArtReview’s 21st edition of the Power 100, the magazine’s annual ranking of the international contemporary artworld’s 100 most influential figures, from artists and thinkers to collectors and activists. As ever, there continues to be existential debate about what art is and what it’s for. This year, it has been noted that power no longer only accrues to those securely at the top of their respective hierarchies, but also to those who disrupt the usual way of doing things. What this means for the list, along with a full analysis of the artworld’s power structures as they exist today and a specially commissioned project by Colombian artist Carolina Caycedo are all in the December issue of ArtReview.

The November issue of ArtReview is all about a question of taste: what makes art good or ‘bad’? And can ‘bad’ art actually be considered… well… quite good? This issue looks at the blurring of absolute values and essential truths, and the potential in between. Featuring a cover profile on Turner Prize-nominee Sin Wai Kin, who has been upending gender essentialism via their drag queen personas since the early 2010s; a look at the ’bad’ paintings of American artist Robert Nava; a discussion between artists Stan Burnside and Tavares Strachan, on the responsibility of unlearning a Western art-historical canon via embracing the collaborative ethos of Junkanoo, a Caribbean carnival-style street parade and sacred cultural rite; and a journey through Bangkok, following an audio walk by Orawan Arunrak for Korakrit Arunanondchai’s Ghost 2565 festival. Also in this issue Ross Simonini talks to Barcelona-based duo Lolo & Sosaku; Rosanna McLaughlin wonders what a true-crime podcast about Ana Mendieta’s 1985 death adds to the discourse; and Eliza Goodpasture asks why it is so hard to write a feminist art history. Plus, the usual selection of exhibition and book reviews from around the world, including Wolfgang Tillmans at New York’s MoMA, the 58th Carnegie International and Bergen Assembly 2022.

ArtReview’s October issue looks to artists and thinkers who turn their attention to forgotten histories, narratives and knowledge systems to put the present under a new light. Featuring: a cover profile of Jeffrey Gibson, an American-indigenous artist whose vibrant and playful work seeks to unpick and repattern some of the persistent mythologies around the depiction of native cultures; radical political thinker Noam Chomsky on what we can learn from the late anthropologist David Graeber’s revisionist writings and his posthumously published study of pirate societies; and, ahead of his first UK show, we take a look at the work of Tyler Mitchell, whose photographs of Black bodies in bucolic settings and idyllic landscapes seek to address their historical exclusion from such leisurely contexts and representations. Elsewhere, a survey of the experimental films of Sylvia Schedelbauer, and an interview with documenta fifteen curators, the Indonesian collective ruangrupa, about the various controversies that engulfed this edition and what they’ve learned from operating within a Western institution. Plus extensive books and exhibition reviews from around the world.

ArtReview’s September issue features an overview of award-winning German artist Anne Imhof and ‘the smoldering trash heap of cultural citations’ that inform her performance works. Salena Barry looks at Nikita Gale’s explorations of climate-change, race, and state control. Oliver Basciano investigates the pioneering work of African-Brazilian artist Abdias do Nascimento and his Experimental Black Theatre. Also in this issue, Benoît Loiseau has a thoroughly middling time at an LGBTQ+ museum, Emmanuel Iduma looks at real and ideal projections of one of Africa’s greatest novelists and Phoebe Blatton considers why Polish women’s collectives do art fairs better. Plus extensive books and exhibition reviews from around the world.

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

September 2023

Summer 2023

May 2023

April 2023

March 2023

December 2022

November 2022

October 2022

September 2022

Summer 2022

May 2022

April 2022

March 2022

January - February 2022

December 2021

November 2021

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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Magzter Inc. is the World's largest and fastest growing self-service, cross-platform digital newsstand with over 80 million users since its inception in 2011 and thousands of magazines and newspapers across 40+ categories and 60+ languages. Headquartered in New York, Magzter has its local presence in Amsterdam, London, Mexico City, Chennai, Mumbai, New Delhi, Bengaluru, Singapore, and will soon be expanding to other countries. Founded by global entrepreneurs, Girish Ramdas and Vijay Radhakrishnan in June 2011, Magzter enables magazine and newspaper publishers around the world to create and deliver digital editions of their titles to global consumers.

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Magzter is not responsible for compensating any party that has suffered damages or incurred costs due to any content, or part of the content, that violates their rights. Magzter is not liable to face any legal action in civil court for any violation of rights caused by any content, or part of the content, that infringes the rights of a third party.

Magzter offers the world’s largest {{allyoucanread}} subscription service called {{gold}} which gives digital readers unlimited access to 8,500+ magazines and newspapers for a monthly subscription price. Magzter also has the largest number of stories in the world with its game-changing ezRead 2.0 feature for its apps, which enables smartphone and small-screen mobile users to enjoy magazine content the way it was meant to be enjoyed, with article text that is easy to read and is accompanied by stunning videos and high resolution photography.

Magzter offers the world’s largest “All-You-Can-Read” subscription service called Magzter GOLD which gives digital readers unlimited access to 8,500+ magazines and newspapers for a monthly subscription price. Magzter also has the largest number of stories in the world with its game-changing ezRead 2.0 feature for its apps, which enables smartphone and small-screen mobile users to enjoy magazine content the way it was meant to be enjoyed, with article text that is easy to read and is accompanied by stunning videos and high resolution photography.

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Prior to Magzter, he was the President of Dot Com Infoway (DCI) and Galatta Media. His duties included strategic marketing, partnership development, and monetizing content globally. DCI grew from a small team of 3 in 2000 to 300 by 2011 and was dealing with web, software and app development for clients globally.

Since we launched, Magzter has been committed to partnering with global organizations to provide the greatest possible newsstand technology & service to our customers. Whether you are looking to offer magazine subscriptions to your customer database or just want to learn more, Magzter is committed to helping your business grow. To find out more, please fill out the questionnaire below:

The DMCA allows us to restore the removed content if the party filing the original DMCA Notice does not file a court action against you within ten business days of receiving the copy of your Counter Notice.

This Policy covers Company’s treatment of personally identifiable information (“Personal Information”) and other information about you and your computer or device that Company gathers when you are accessing the Service. We may collect Personal Information from you, as explained in more detail below, and we use this Personal Information internally in connection with our Services, including to personalize, provide, and improve our products, services, content, and advertising, and to allow you to set up a user account and profile, to contact you, to fulfill your requests for certain products and services, and to analyze how you use the Services. In certain cases, we may also share some Personal Information with third parties, but only as described in point 4.

This title is included with your Magzter GOLD subscription

To analyze the quality of content and provide appropriate feedback to publishers

We have designated a Grievance Officer to address any complaints related to objectionable content.

We request that any complaint related to objectionable content be sent to the Grievance Officer through email to the above-mentioned email address. We also request that you provide the following details when making a complaint:

and the App that provides you the capability to order, subscribe to and receive the delivery of various magazines, books, news and magazine and publication related content (collectively known as 'Publications') and to have these digital versions of the Publications delivered to you

c. We also collect information associated with your use of the application in order to make personalized recommendations. If you provide your third-party account credentials to us, you understand some content and/or information in those accounts (“Third Party Account Information”) may be transmitted into your account with us if you authorize such transmissions, and that Third Party Account Information transmitted to the Service is covered by this Policy.

f. The Personal Information we collect allows us to respond to your requests, improve our products and services, customize the advertising and content you see, and communicate with you about new products.

is the World's largest and fastest growing self-service, cross-platform digital newsstand with over 87 million users since its inception in 2011 and thousands of magazines and newspapers across 40+ categories and 60+ languages. Headquartered in New York, Magzter has its local presence in Amsterdam, London, Mexico City, Chennai, Mumbai, New Delhi, Bengaluru, Singapore, and will soon be expanding to other countries. Founded by global entrepreneurs, Girish Ramdas and Vijay Radhakrishnan in June 2011, Magzter enables magazine and newspaper publishers around the world to create and deliver digital editions of their titles to global consumers.

n. We will also use usage information in order to ensure users adhere to our Terms of Use. For example, a user’s usage information will help us confirm that a user only downloads a magazine or other content a permitted number of times or to a permitted number of devices.

which gives digital readers unlimited access to 8,500+ magazines and newspapers for a monthly subscription price. Magzter also has the largest number of stories in the world with its game-changing ezRead 2.0 feature for its apps, which enables smartphone and small-screen mobile users to enjoy magazine content the way it was meant to be enjoyed, with article text that is easy to read and is accompanied by stunning videos and high resolution photography.

{{magzter}} is the World's largest and fastest growing self-service, cross-platform digital newsstand with over 87 million users since its inception in 2011 and thousands of magazines and newspapers across 40+ categories and 60+ languages. Headquartered in New York, Magzter has its local presence in Amsterdam, London, Mexico City, Chennai, Mumbai, New Delhi, Bengaluru, Singapore, and will soon be expanding to other countries. Founded by global entrepreneurs, Girish Ramdas and Vijay Radhakrishnan in June 2011, Magzter enables magazine and newspaper publishers around the world to create and deliver digital editions of their titles to global consumers.

ArtReview Magazine - March 2019

ArtReview Magazine - March 2019

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