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Title: ArtReview: April 2013
‘My approach to photography as a medium has always been that I wanted to approximate what it feels like to look through my eyes.’ Fresh from the success of his multiyear Neue Welt project, and with a large show of work opening at Düsseldorf’s K21, Tillmans, the only photographic artist to win the Turner Prize, tells Martin Herbert about the world as he sees it.
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Title: ArtReview: March 2013
Turner-Prize winner Simon Starling uses objects to generate sprawling narrative tales that often involving the fabrication, display and dissemination of other art objects. Ahead of the unveiling of Starling’s film installation ‘Phantom Ride’, his new Duveen Galleries commission for Tate, Mark Rappolt explores how the artist continues to test the limits of what one can squeeze into – and out of – a work of art.
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Title: ArtReview: January and February 2012
Becoming art history comes with its own troubles. How to have a history without becoming historical? How to stop being a Young British Artist in order to carry on being, well, just an artist – maybe a good one, and one who means to stick around? J.J. Charlesworth has some questions for Sarah Lucas
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Title: ArtReview: December 2012
Attempts to voice our feelings, Cesarco’s patchwork of borrowings suggests, invariably sieve through what we’ve seen, heard, read, and so we don’t really express ourselves at all. “I think that a truly authentic, individual and original expression would be a completely hermetic utterance in an incomprehensible, unshared code,” says the artist. “Our use of language, of any language, is always already mediated.” Martin Herbert profiles Alejandro Cesarco
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Title: ArtReview: November 2012
ArtReview’s 2012 Power 100, the definitive guide to who’s who in contemporary art, identifies who influences the kind of art being produced today, who decides what art you get to see and who's paying for it all. Profiles in power, an interview with Power 100 cover artist John Baldessari, newly commissioned photography, roundtable discussions in Asia, South America and Europe, it’s all here in the November issue of ArtReview.
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Title: AR: Multiple
ArtReview’s second annual guide to the world of multiples and editions – art that has been produced for mass consumption – is a 60-page standalone publication released with the November issue of ArtReview.
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Title: ArtReview: October 2012
As Luc Tuymans’s exhibition of new canvases inaugurates David Zwirner’s London gallery, the Belgian painter sits down with Martin Herbert to talk about his anxieties in front of the canvas, thinking slow and painting fast, the medium’s purported ‘weakness’ – and, additionally, about van Eyck, parrots, filmmaking and why he avoids looking at his own art.
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Title: ArtReview: September 2012
Andrew Berardini visits the sculptor in his LA studio to work out where his ‘wrecked giants’ from another time are actually coming from.
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Title: ArtReview Brazil 2012
During the past decade or so, contemporary art from Brazil has become a vital presence on the international art scene – whether in museum collections and exhibitions, or in commercial gallery shows and art fairs. Yet the artworld has often misunderstood or been ignorant of the context in which Brazilian art is produced. Published as two of the country’s three key art events take place – the long-established São Paulo Bienal and Brazil’s newest art fair, Art Rio (the third, the nation’s longest-running fair, SP Arte, takes place next April) – AR:BR seeks to correct this.
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Title: Summer 2012
It’s a new golden age for the art salon, with groups popping up all over New York City (and particularly in Brooklyn), in settings ranging from temporary to humble to spectacular. Agnieszka Gratza examines the phenomenon.
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