ArtReview is one of the world’s leading international contemporary art magazines. Founded in 1949, it is dedicated to expanding contemporary art’s audience and reach. Published nine times a year, the magazine features a mixture of criticism, reviews, previews, opinion, reportage and specially commissioned artworks, and offers one of the most established, in-depth and intimate portraits of international contemporary art in all its shapes and forms. In 2013 ArtReview was joined by its sister magazine ArtReview Asia, now published four times a year, which brings a fresh and exciting new voice to the dynamic and fast-changing art scenes of the Asia region, as well as covering Asian art presented outside of the region.
The ArtReview archive consists of all issues going back to 2006, when the title was relaunched in its present form, as well as all issues of ArtReview Asia from its first issue in 2013. Together, the two titles provide an invaluable resource for those interested in the current era of contemporary art; the ArtReview archive is an indispensable reference for all art students, art historians and other humanities researchers, as well as offering an independent and first-hand research tool for professionals working in galleries, museums and institutions.
The November issue of ArtReview puts the ‘review’ under scrutiny: How do we decide what to review? Can anything be reviewed? Is it possible to exhaust the review format? And why are we so obsessed with reading reviews? Four writers from around the world explore these questions via reviews that variously include rodeos, funeral homes, repeat visits to the same exhibition and everything reviewed within a one-kilometer radius. German artist Hans Haacke, champion of institutional critique and featured on this issue’s cover (with an intervention by the Wendy comics artist Walter Scott), is interviewed by Liam Gillick; Nate Budzinski asks why exhibitions about art and witchcraft are so popular; JJ Charlesworth questions whether populist art is really for the people or just for the artworld; and Dorrell Merrit considers the enduring format of the photographic tableau. Plus exhibition and book reviews from around the world.