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Artforum


Artforum is an international focused on , , and related fields such as , , and performance, founded in in 1962 by John P. Irwin Jr. and relocated to in 1967, where it remains based. Published ten times a year from September through May, it provides in-depth criticism, analysis, and reporting on modern and contemporary art developments, serving an audience of collectors, curators, artists, and professionals. The publication has played a pivotal role in shaping art discourse, often identifying artists and movements that define eras, from and in its early years to current global trends, establishing itself as a journal of record for the . Acquired by in December 2022, Artforum operates under publisher Danielle McConnell and editor-in-chief Tina Rivers Ryan, maintaining editorial independence while expanding digital initiatives. Artforum has encountered significant controversies that highlight tensions between its critical mission and internal dynamics, including the 2017 resignation of publisher Knight Landesman amid multiple allegations of and misconduct, which prompted calls for boycotts and scrutiny of the magazine's leadership culture. In 2023, editor-in-chief David Velasco was dismissed following the unauthorized online publication of an signed by artists advocating for a in and Palestinian liberation, leading to staff protests and debates over political expression in art journalism. These events underscore ongoing challenges in balancing institutional accountability with the provocative nature of criticism.

History

Founding and Early Years (1962–1965)

Artforum was founded in 1962 in by John P. Irwin Jr., a printing company salesman who sought to create a publication dedicated to discussing amid the dominance of and the rise of influences on the . Irwin, leveraging his connections in the local industry, launched the magazine as a modest quarterly to cover the California art scene, particularly the Area's vibrant community of artists and galleries. The inaugural issue appeared in June 1962, reflecting a shoestring operation with a focus on regional exhibitions and emerging trends. Philip Leider served as the first editor, shaping the magazine's initial editorial vision around formalist criticism that prioritized rigorous analysis of an artwork's intrinsic qualities—such as form, structure, and optical effects—over external socio-political interpretations. Leider, influenced by Clement Greenberg's emphasis on medium specificity, positioned Artforum in opposition to publications like Art News, which he viewed as overly eclectic and less analytically stringent. This approach aimed to elevate art discourse through first-principles evaluation, fostering a platform for critics who dissected paintings and sculptures on their formal merits. Early issues featured reviews of Bay Area figurative painting, highlighting artists who rebelled against with direct, human-centered representations, as seen in coverage of local exhibitions like those at the Museum of Art. Circulation began small, distributed primarily through targeted engagement with the art community, but grew steadily as the magazine gained traction among galleries and collectors for its incisive, regionally rooted content. By 1965, these formative years had established Artforum's reputation for focus, even as subtle shifts in coverage began anticipating broader movements like through discussions of reductive abstraction.

Relocation and Growth (1965–1971)

In 1965, publisher Charles Cowles acquired Artforum and relocated its offices from to , installing Philip Leider as editor-in-chief. This shift aligned the magazine with the expanding West Coast art ecosystem, including the movement, whose practitioners like began exploring perceptual phenomena through light installations around 1966. Leider's editorial direction emphasized rigorous formalist criticism, fostering coverage of regional developments such as Finish Fetish techniques and environmental works that engaged space and materiality, thereby elevating Artforum's role in documenting emergent California-based practices. By 1967, Artforum moved again, this time to under Leider's continued leadership, broadening its national footprint and integrating East Coast perspectives while retaining ties to contributors. The relocation facilitated deeper engagement with evolving discourses, including early process-oriented experiments, as the magazine's format allowed for extended essays that critiqued objecthood and perceptual experience. This period marked a consolidation of influence, with Artforum distinguishing itself through substantive features on artists challenging traditional media, rather than superficial trends. In 1971, following Leider's exit after the Summer issue, John Coplans assumed editorship from his base in , ushering in a pivot toward , , and amid the magazine's established urban presence. Coplans, who had contributed from , prioritized language-driven and dematerialized practices, reflecting broader shifts in art toward idea over object, as seen in contemporaneous writings on Minimalism's extensions into process and systems. These transitions enhanced Artforum's tastemaking authority, positioning it as a pivotal forum for cross-regional dialogues that influenced gallery programming and curatorial priorities.

Consolidation and Peak Influence (1970s–1990s)

Under John Coplans's editorship from 1971 to 1981, Artforum solidified its role as a vanguard in by emphasizing emerging media such as and video, alongside conceptual and practices that challenged traditional and . Coplans's tenure saw increased coverage of artists like and earthworks, but also pivotal attention to 's theoretical dimensions, reflecting his own evolving interest in the medium as a rigorous artistic form rather than mere documentation. This shift coincided with broader postmodern developments, where Artforum's features helped legitimize these media among collectors; for instance, critical endorsements correlated with rising auction interest in photographic works, as galleries and markets responded to the magazine's validation of non-traditional forms over the decade. received growing scrutiny, exemplified by the 1974 controversy over Lynda Benglis's provocative advertisement, which highlighted tensions around gender representation and prompted debates on women's roles in art, though coverage remained selective amid the era's male-centric criticism. In the 1980s, under editor (1980–1988) and publisher Anthony Korner, Artforum expanded its international purview, engaging and transavanguardia movements through contributors like Germano Celant, while grappling with art's amid the era's speculative boom. Sischy's issues broadened stylistic , featuring painters like and , whose market ascendance—evident in records doubling for neo-expressive works between 1980 and 1987—aligned with the magazine's promotional critiques that both celebrated and questioned hype-driven valuations. Korner's supported this growth, as Artforum navigated debates on art's integration into finance, with features warning against unchecked commercialization yet inadvertently amplifying dealer influence on prices. The magazine's authority peaked in shaping discourse, as its reviews often preceded gallery surges and escalations, underscoring criticism's role in signaling to investors. The 1990s under Jack Bankowsky marked Artforum's globalization, with coverage of (YBA) like —featured prominently post-Sensation exhibition—and relational aesthetics, as theorized by , reflecting a shift toward participatory and site-specific practices amid post-Cold War art flows. Bankowsky's editorship (from 1992) emphasized cultural hybridity, correlating with print circulation stabilizing at elevated levels during the decade's expansion, though exact figures remained proprietary. This era's features on global phenomena influenced valuations, as evidenced by YBA auction prices rising over 300% from 1990 to 1997, where Artforum's endorsements provided critical ballast against pure speculation, fostering sustained collector demand. Such coverage reinforced the magazine's peak sway, bridging theory and commerce in an increasingly internationalized field.

Digital Era and Modern Challenges (2000s–Present)

In the early 2000s, under (2003–2010), Artforum began transitioning to a hybrid print-digital model, launching its around 2005 to complement the monthly edition with online access to articles, archives, and emerging multimedia content. This adaptation reflected broader dot-com influences on the , where publications integrated blogs and digital criticism to engage audiences amid rising penetration, though remained the core format for in-depth reviews. Griffin's tenure emphasized rigorous discourse on new-media art, including roundtables on net art's potential and limitations, positioning Artforum as a bridge between analog traditions and digital experimentation without fully supplanting 's authority. During the 2010s, Artforum intensified coverage of global biennials—such as the , , and SITE Santa Fe—documenting their expansion into over 200 international events by mid-decade, often critiquing curatorial trends tied to neoliberal . The magazine also addressed emerging digital phenomena, including early experiments that foreshadowed NFTs, while highlighting discrepancies between hype-driven valuations and actual sales data; for instance, contemporary art auction revenues peaked at $1.9 billion in 2019 but revealed overinflated speculation in secondary markets. This period underscored Artforum's role in dissecting art-market cycles, where biennial visibility boosted artist prices but often masked underlying commercial pressures, with global gallery sales stagnating for mid-tier dealers despite headline figures. Post-2020, the accelerated shifts, with U.S. galleries projecting a 73% revenue drop in Q2 2020 due to canceled fairs and exhibitions, prompting Artforum to expand online features like reviews and pandemic-themed essays to maintain amid physical closures. Art-market sales rebounded to $2.7 billion in contemporary segments by late 2021, yet vulnerabilities persisted industry-wide, with magazines relying on subscriptions to offset declines—Artforum's parent emphasized complementary online growth to sustain editorial depth. In March 2024, Tina Rivers Ryan, a specializing in and , was appointed editor-in-chief, signaling a commitment to navigating these challenges through focused independence and adaptation to verifiable market fluctuations, including NFT critiques amid their post-hype stabilization. This era highlighted Artforum's resilience, preserving 's prestige while leveraging tools for broader reach in a fragmented ecosystem.

Editorial Leadership

Editors-in-Chief

Philip Leider served as the founding editor-in-chief of Artforum from 1962 to 1971, establishing a formalist critical foundation that emphasized rigorous analysis of modernist painting and sculpture amid the art world's shift from Abstract Expressionism toward emerging movements like Minimalism. His tenure, marked by a demanding intellectual style, anchored contributions from critics such as Michael Fried and Rosalind Krauss, fostering a platform that prioritized theoretical depth over broader cultural commentary. This approach causally shaped early discourse by privileging perceptual formalism, influencing subsequent evaluations of art's objecthood and medium specificity. John Coplans succeeded Leider as from 1971 to 1977, broadening the magazine's scope to include , , and while navigating internal upheavals that fragmented the original editorial team. Under his leadership, Artforum expanded media coverage, publishing landmark pieces on conceptual practices and , which shifted the publication toward a more inclusive examination of art's social contexts and interdisciplinary boundaries. This evolution reflected causal responses to the art scene's diversification, moving beyond Leider's to engage emerging dematerialized forms, though it coincided with financial strains leading to ownership changes. Jack Bankowsky held the position from 1992 to 2003, steering Artforum through the ' market boom and theoretical turns toward , , and relational . His tenure emphasized curatorial dialogues and artist-centric features, fostering a hybrid critical voice that integrated cultural theory with market dynamics, thereby influencing discourse on postmodern and the commodification of . Tim edited from 2003 to 2010, organizing themed issues on , institutional frameworks, and art's intersections with and , which deepened Artforum's engagement with live and ephemeral practices amid reevaluations of space and politics. This focus causally amplified discussions on art's participatory and temporal dimensions, bridging analog traditions with digital-era inquiries into curation and spectatorship. Michelle Kuo led as from 2010 to 2017, advancing coverage of global biennials, , and ecological themes while contributing essays on postwar abstraction and . Her era sustained Artforum's commitment to archival depth and international perspectives, influencing shifts toward networked art discourses in an increasingly digitized . David Velasco served from 2017 to 2023, intensifying explorations of , racial equity, and activist interventions in , as evidenced by issues foregrounding decolonial narratives and institutional accountability. This emphasis causally redirected critical attention toward 's role in addressing systemic inequalities, diverging from prior formalist legacies to prioritize ethical and political interrogations. Tina Rivers Ryan assumed the role in March 2024, with her tenure emphasizing editorial independence and fearless criticism supportive of artists' visions, as articulated in announcements committing to rigorous, artist-driven inquiry. Early issues under her direction, including the summer 2024 edition, signal a return to stringent analytical standards, potentially recalibrating discourse toward empirical and formal evaluation over ideological framing.

Notable Contributors and Staff

Rosalind Krauss emerged as a pivotal voice in Artforum during the late 1960s, contributing essays that applied structuralist frameworks to contemporary and , such as her 1966 review of Donald Judd's exhibition at Gallery, which analyzed Judd's work through linguistic and perceptual models rather than formalist traditions. Her writings, spanning over a decade, challenged Greenbergian modernism by emphasizing semiotic disruptions in artworks, influencing subsequent theoretical shifts in art discourse without aligning to institutional ideologies. Barbara Rose advanced formalist criticism in Artforum through essays like her 1965 "ABC Art," which delineated minimalism's historical roots in reductionist practices, citing precedents from to Judd and arguing for its emphasis on objecthood over illusionism. Rose's contributions, including multipart series on the politics of art in the early , prioritized empirical analysis of artistic consequences over sociopolitical agendas, correlating her reviews with rises in gallery representations for minimalist artists during that period. Donald Judd, as both artist and critic, penned incisive reviews in Artforum from the early , critiquing illusionistic tendencies in and advocating for specific, non-relational objects in essays that paralleled his own sculptural , such as those compiled in his Complete Writings –1975. His writings, often numbering over 100 pieces across periodicals including Artforum, provided disinterested evaluations that boosted awareness of , with Judd's critiques coinciding with expanded institutional acquisitions of works by peers like Robert Morris. Sidney Geist, a sculptor who transitioned into criticism, delivered focused analyses of three-dimensional form in Artforum, notably on Constantin Brancusi's sculptures, emphasizing anatomical and material precision in pieces like his 1970 review of Brancusi monographs. Geist's contributions, appearing regularly from the 1960s onward, offered unpretentious appraisals of sculpture's physicality, drawing from his studio practice to highlight causal links between form and viewer without theoretical overlay. Amy Taubin bridged film and visual art in Artforum's pages, particularly from the , through critiques examining cinematic structures' intersections with sculptural or painterly concerns, such as spatial in experimental akin to Judd's objecthood. Her essays, often tallying dozens over decades, underscored perceptual continuities between media, fostering cross-disciplinary insights that informed art-world engagements with time-based works during minimalism's expansion.

Content and Format

Core Features and Publication Style

Artforum maintains a print format of ten issues per year, comprising extended feature articles on practices, critical reviews of and exhibitions worldwide, assessments of art books, and recurring columns exploring intersections with , , and . These elements prioritize analytical depth over brevity, with articles often drawing on primary engagements with artworks and artists' statements to evaluate formal innovations, conceptual frameworks, and market dynamics. A hallmark is the Critics' Picks rubric, which delivers succinct, evaluative summaries of ongoing shows—typically 200-300 words each—structured around observable attributes like installation coherence, material execution, and contextual relevance rather than subjective enthusiasm alone. Complementing this, the annual Top Ten compilation aggregates selections from ten contributors, listing standout exhibitions, publications, and events with brief rationales tied to or cultural impact. Issues integrate these texts amid dense visual arrays, with reproductions rendered in high-fidelity color to preserve tonal nuances and spatial illusions, often spanning double-page spreads. Each edition averages over 300 pages, including substantial advertising sections from commercial galleries that mirror the editorial focus on emerging and mid-career artists, creating a seamless blend of promotion and discourse. The counterpart at artforum.com extends content with real-time updates, expanded reviews, and supplements—such as video interviews and event calendars—accessible primarily to subscribers, reinforcing a model where reader support offsets production costs alongside ad revenue.

Influence on Contemporary Art Discourse

Artforum has exerted significant influence on contemporary art discourse by serving as a primary platform for critical validation, often positioning itself as a "journal of record" that documents and shapes trends through in-depth reviews and features on exhibitions, artists, and movements. Its endorsements have historically correlated with shifts in artistic canon formation, such as the elevation of conceptual and minimalist practices in the and , where early coverage helped transition these from fringe experiments to established paradigms, evidenced by subsequent inclusions in major institutional collections and biennials like the , which Artforum has reviewed extensively since the . This tastemaking extends to market dynamics, where concentrated critical attention in publications like Artforum has been linked to heightened visibility and price escalation; for instance, during the 1980s neo-expressionist surge, artists receiving prominent features saw auction realizations climb, with average prices for covered figures like rising from under $10,000 in the early to over $1 million by , amid broader speculative fervor. Critics, however, contend that Artforum's influence has fostered echo-chamber effects, amplifying narratives aligned with elite circuits and houses while marginalizing voices from underrepresented regions and practices prior to globalization's acceleration in the . Pre-2000, its content skewed heavily toward North American and European artists, with non-Western coverage comprising less than 5% of features in sampled issues from the –, potentially reinforcing a Western-centric that prioritized market-accessible over diverse cultural contexts. This selective focus contributed to hype-driven bubbles, as seen in the , where promotional intertwined with financial influxes—fueled by wealth and Japanese buying—led to unsustainable valuations, culminating in the 1990 market crash where post-boom volumes dropped over 60% from 1989 peaks. Despite these critiques, Artforum's role includes democratizing access to rigorous , broadening beyond academic silos by synthesizing complex theoretical debates into digestible formats that informed collectors, curators, and emerging artists alike, thus enabling wider participation in canon-building. Yet, empirical analyses of art economics underscore limited direct between magazine coverage and long-term , attributing fluctuations more to macroeconomic factors than isolated endorsements, highlighting the publication's power as rather than sole . This duality—elevating while risking market distortion—underscores Artforum's contested legacy in steering toward institutional and commercial convergence.

Controversies

2023 Open Letter on Israel-Palestine and Editorial Fallout

On October 19, 2023, Artforum published "An from the Art Community to Cultural Organizations," signed by over 1,000 artists, curators, and cultural figures, including David Velasco. The letter urged cultural institutions to publicly support Palestinian liberation, demand an immediate ceasefire in , facilitate , and end complicity in violations amid the crisis affecting 2.3 million . It condemned violence against civilians generally but made no reference to the Hamas-led attacks of , 2023, which killed approximately 1,200 people in —mostly civilians—and resulted in the abduction of over 240 hostages. A disclaimer clarified that the letter represented only the signatories' views and was neither composed nor endorsed by Artforum or its staff. The publication, approved by and select staff without prior consultation with publisher (), drew immediate criticism for its one-sided framing, which omitted condemnation of 's actions and was perceived by detractors as equating self-defense with aggression. On , amid backlash, Artforum updated the letter to explicitly reject violence against all civilians, acknowledge the "Hamas massacres" of that killed 1,400 in , call for hostage release, and reiterate ceasefire demands while mourning casualties on both sides. Critics, including artists and collectors like Martin Eisenberg, who described the original as "vomit-inducing" and accused signers of moral equivalence akin to historical antisemitic tropes, argued the omission fostered unbalanced that downplayed victims and risked normalizing antisemitic narratives in art circles. On October 27, 2023, terminated Velasco's editorship, citing a "flawed editorial process" that bypassed transparency, staff consultation, and publisher approval, leading subscribers and advertisers to mistakenly attribute the letter's views to Artforum and raising concerns over geopolitical sensitivities in a polarized climate. 's statement emphasized the magazine's dedication to "diverse and sometimes dissenting" viewpoints but stressed that the unvetted posting violated internal standards and amplified misinterpretations. Velasco expressed no regrets, framing the decision as yielding to external pressure on a publication historically committed to artistic free speech. The fallout included resignations from several senior editors and over 30 staff members who issued a November 8, 2023, statement decrying the firing as an overreach that stifled internal debate on urgent global issues. Prominent artists such as Nan Goldin and Nicole Eisenman called for boycotts, with contributors withdrawing articles and portfolios in protest over perceived censorship of pro-Palestinian voices. Artforum reported advertiser pullouts and content gaps, attributing disruptions to the handling rather than inherent bias. In May 2024, boycott advocacy resurfaced via groups like PACBI, triggered by rumors of a "Palestine edition," though Artforum clarified it would only include portfolios from two Palestinian-American artists without thematic endorsement; some urged participation to amplify underrepresented stories amid ongoing tensions. Supporters of the firing, including gallery stakeholders, highlighted how such events exacerbated divides, with one-sided statements correlating to incidents like antisemitic vandalism targeting New York galleries post-October 7.

Broader Criticisms of Bias and Commercialism

Critics have long accused Artforum of exhibiting a left-leaning ideological slant in its coverage, prioritizing art aligned with identity politics and sociocultural critique over evaluations grounded in aesthetic merit or formal qualities. This perspective holds that such emphasis reflects broader systemic biases in art institutions, where political narratives often supplant first-principles assessments of artistic achievement, such as technical skill or enduring visual impact. For instance, contributors like Robert Hughes and Hilton Kramer, who engaged with Artforum in its earlier phases, increasingly critiqued the shift toward contingent, politically inflected art discourse that marginalized traditional aesthetic standards. Kramer, in particular, founded The New Criterion in 1982 partly in response to what he saw as the art world's drift into ideological conformity, including in publications like Artforum, which he argued underemphasized rigorous formalism in favor of postmodern social texts. This alleged bias manifests in selective coverage, with critics from right-leaning viewpoints contending that Artforum underrepresents artists pursuing conservative or apolitical themes, such as figurative or classical influences, while amplifying works framed through lenses of , , or . Such omissions are attributed to an influenced by and mainstream galleries, where empirical measures of quality—like market longevity or cross-cultural appeal—are secondary to alignment with trends. Defenses of Artforum's output argue that its focus yields exposés of art-world hypocrisies, yet detractors counter that this comes at the cost of balanced , perpetuating a feedback loop where politicized art garners disproportionate validation. On commercialism, Artforum has faced scrutiny for its heavy dependence on advertising revenue from galleries, which critics claim compromises by incentivizing favorable coverage of represented artists. Former editor Max Kozloff, reflecting in a 2023 on his 1977–1979 tenure, stated that one was to "reduce the influence that ad revenue gave to galleries wanting to highlight artists they represented" and to curb resulting favoritism. This dynamic persists, as gallery ads form a core revenue stream in print art magazines, potentially pressuring reviewers to align with commercial interests over disinterested critique. While proponents note that ad funding sustains in-depth amid declining subscriptions, empirical evidence of remains anecdotal, though the structural reliance raises causal concerns about content neutrality in an industry where gallery promotions and features often coincide.

Ownership and Business Model

Key Ownership Transitions

Artforum was established in 1962 by John P. Irwin Jr. as an independent art magazine in , initially operating on a limited budget under his direction for the first three years. Ownership evolved through subsequent publishers, with the magazine relocating to and coming under the stewardship of a group including Anthony Korner by the mid-1980s, who served as a key shareholder and publisher thereafter. In December 2022, () acquired Artforum International Magazine from its prior independent shareholders, marking a significant corporate transition; Korner transitioned to an ambassadorial role post-acquisition. This sale consolidated Artforum under alongside its existing art titles ARTnews and Art in America, both acquired in 2018, thereby centralizing the leading U.S. print publications within a diversified headquartered in . The ownership shift manifested implications for in October 2023, when the corporation dismissed David Velasco shortly after Artforum published an criticizing Israel's actions in , an intervention attributed to owner directives aimed at curbing perceived political biases.

Advertising, Revenue, and Industry Role

Artforum's primary revenue streams consist of from and luxury brands, which historically dominate its print issues—often exceeding 500 pages per edition, with the majority dedicated to promotions—and subscriptions to its ten annual print and digital editions. Annual revenue stands at approximately $13 million, reflecting a heavily reliant on blue-chip advertisers amid the broader market's volatility. Events and supplementary digital offerings, such as newsletters and the Artguide listings platform, contribute marginally but support audience engagement. In the art economy, Artforum functions as a key tastemaker, channeling critical endorsements that empirically correlate with heightened market visibility, as evidenced by historical patterns where favorable coverage precedes sales upticks in contemporary segments during boom periods like the and . However, this influence invites scrutiny over potential dynamics, given the interdependence between praise and commitments from the same galleries, fostering perceptions that commercial incentives may dilute independent critique. Post-2020 contractions in the art sector, including a 12 percent global sales decline in and gallery revenue projections dropping up to 73 percent in early quarters, have pressured Artforum's ad-dependent model, exacerbating vulnerabilities from reduced gallery spending. To counter this, the publication has adapted via enhanced digital infrastructure, including subscriber-exclusive online content and tools like the Artguide for discovery, aiming to diversify beyond print ads while preserving critical rigor against industry-wide .

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