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| Artists' International Monthly | |
|---|---|
| Title | Artists' International Monthly |
| Frequency | Monthly |
| Category | Art magazine |
Artists' International Monthly was a 20th-century periodical devoted to visual arts discourse, criticism, exhibition reviews, and artist interviews. It chronicled developments across modernism, realism, abstraction, and avant-garde movements while covering exhibitions, biennales, galleries, and museums. The magazine engaged with international figures from museums, academies, and movements, positioning itself amid debates involving curators, critics, painters, sculptors, photographers, and printmakers.
Founded in the volatile interwar and postwar periods, the magazine emerged during debates sparked by institutions such as the Museum of Modern Art, the Tate Gallery, the Art Institute of Chicago, the Centre Pompidou, and the Guggenheim Museum. Early issues responded to exhibitions at the Venice Biennale, the São Paulo Art Biennial, the Whitworth Gallery, and the Royal Academy of Arts. Contributors debated exhibitions like The Armory Show, retrospectives of Pablo Picasso, Henri Matisse, Wassily Kandinsky, and surveys of Jackson Pollock, Mark Rothko, and Willem de Kooning. The magazine covered movements including Surrealism, Dada, Constructivism, Futurism, and Abstract Expressionism, and analyzed policy shifts influenced by collectors such as Peggy Guggenheim, Alfred Barr, and Paul Mellon.
Editorial direction shifted alongside cultural events including the Spanish Civil War, the Great Depression, the Cold War, and the Vietnam War, often reacting to exhibitions at institutions like the Metropolitan Museum of Art, the National Gallery, the Prussian Cultural Heritage Foundation, and the Hermitage Museum. The publication tracked careers of artists associated with ateliers, academies, and movements in cities such as New York City, Paris, London, Berlin, Moscow, Tokyo, and Mexico City. It engaged with collectors and patrons including Joseph Hirshhorn, Samuel Kress, Leonard A. Lauder, and Iwan Wirth.
Editorially, the periodical featured criticism, theory, manifestos, exhibition catalog excerpts, and interviews with figures from galleries and institutions like Gagosian Gallery, David Zwirner, Hauser & Wirth, Whitechapel Gallery, and Serpentine Galleries. Essays referenced historians and theorists such as Clement Greenberg, Harold Rosenberg, Rosalind Krauss, T.J. Clark, and Linda Nochlin, while engaging curators like Alison Kelly, Kynaston McShine, Robert Storr, Nicholas Serota, and Thelma Golden. The magazine published manifestos and statements influenced by groups including CoBrA, Gutai Group, The Independent Group, and Fluxus, and highlighted institutions like the Royal College of Art, Yale School of Art, Rhode Island School of Design, and School of the Art Institute of Chicago.
Design and production reflected typographic experiments associated with printers and designers working with Bauhaus, Stenberg brothers, Jan Tschichold, Herbert Bayer, and Saul Bass. Feature sections covered auctions at Christie's, Sotheby's, and Bonhams, prize announcements such as the Turner Prize, the Pritzker Architecture Prize, and the Praemium Imperiale, and major shows at venues including Centre Georges Pompidou, Louvre Museum, Victoria and Albert Museum, and National Gallery of Art.
Regular contributors included critics, historians, and artists associated with institutions such as New York University, Columbia University, University of Oxford, Harvard University, and Princeton University. Contributors included writers in dialogue with figures like Susan Sontag, John Berger, Edmund Wilson, Arthur Danto, and Michael Fried. Interviews and portfolios featured artists such as Marcel Duchamp, Frida Kahlo, Diego Rivera, Georgia O'Keeffe, Louise Bourgeois, Claes Oldenburg, Yves Klein, Anselm Kiefer, Ai Weiwei, Cindy Sherman, Marina Abramović, Jeff Koons, Bridget Riley, David Hockney, Josef Albers, Paul Klee, Anish Kapoor, Gerhard Richter, Kara Walker, Egon Schiele, Arshile Gorky, Jean-Michel Basquiat, Takashi Murakami, El Anatsui, Nam June Paik, Robert Rauschenberg, Jasper Johns, Helen Frankenthaler, Alberto Giacometti, Barbara Hepworth, Suzanne Lafont, Diane Arbus, Giorgio de Chirico, Romare Bearden, László Moholy-Nagy, Eva Hesse, Isamu Noguchi, Jacob Lawrence, Lee Krasner, Kandinsky, Edvard Munch, Francis Bacon, Georges Braque, Roy Lichtenstein, Artemisia Gentileschi, Kehinde Wiley, Takashi Murakami. The magazine serialized critical essays, letters to the editor, and portfolios later cited in monographs and exhibition catalogs for retellings of works such as Les Demoiselles d'Avignon, Guernica, The Persistence of Memory, Number 31, and Blue Poles.
Scholars and curators at institutions including Smithsonian Institution, British Museum, National Portrait Gallery, Art Gallery of Ontario, and Museo Reina Sofía referenced the magazine in discussions on canon formation, provenance debates, and restitution cases involving collections like the Monuments Men recoveries and archives tied to Edmond de Rothschild and Helena Rubenstein. Debates within its pages intersected with theories advanced by Walter Benjamin, Michel Foucault, Pierre Bourdieu, Theodor Adorno, and Jacques Derrida and informed exhibition-making at biennales and museums including Documenta, Kunsthalle Basel, and MOMA PS1. Critics compared its stance to publications such as Artforum, October (journal), Art in America, ARTnews, Apollo (magazine), and Frieze (magazine).
Circulation networks connected with dealers, auction houses, and academic subscriptions reaching galleries and collectors associated with Grosvenor Gallery, Pace Gallery, Max Hetzler Gallery, Marian Goodman Gallery, and private foundations like The Rockefeller Foundation, Guggenheim Foundation, Andrew W. Mellon Foundation, and Carnegie Corporation. Distribution channels included vendors at fairs such as Art Basel, Frieze Art Fair, Armory Show, TEFAF, and NADA Art Fair, and partnerships with libraries such as Library of Congress, British Library, Bibliothèque nationale de France, Staatsbibliothek zu Berlin, and university libraries at Yale University Library and Bodleian Library.
Archival sets and special collections are held at repositories and research centers including Smithsonian Archives of American Art, Getty Research Institute, Tate Archive, Museum of Modern Art Library, National Art Library, Bibliothèque Kandinsky, and Frick Art Reference Library. Preservation initiatives involve conservation labs associated with Getty Conservation Institute, Courtauld Institute of Art Conservation Department, Canadian Conservation Institute, and digitization efforts coordinated with institutions like Europeana and Digital Public Library of America. Curatorial research citing the magazine appears in catalogs for retrospectives at Hayward Gallery, Neue Nationalgalerie, Palais de Tokyo, and Kunstmuseum Basel.
Category:Art magazines