Media kit 2021 - Art Fund
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Media kit 2021
The magazine Readership/audience
With 151,000 readers nationwide, Art Quarterly is one of – 151,000 readers nationwide – a well-educated, informed
the most respected and valued magazines on art in the UK. and articulate audience of high-net-worth individuals
It provides insightful and accessible content and comment who actively enjoy seeing and collecting art, and visiting
on art and artists, galleries and museums, and the works they galleries and museums
show and hold in their collections, inspiring readers to see
– 90% of readers visit galleries, museums and historic houses
more art more often.
five or more times a year
Published four times a year by Art Fund, the national charity – Readers are interested in a wide range of art and design,
for art, Art Quarterly is one of the essential benefits of plus books (87% of readers), theatre and cultural events
becoming an Art Fund member. (74%), travel (56%), and equities and investments (50%)
– 63% of readers live in London and 37% live across the rest
Each issue looks forward to what’s happening in the coming
of the UK
months around the UK and beyond, and comments on
cultural events and issues. It includes in-depth features, – The average age of a new Art Fund member is 38
interviews, conversations, exhibition previews and reviews,
– 70% of members say Art Fund’s communications influence
book reviews, collector profiles, news and opinion by writers,
their cultural decision making
critics, commentators and experts in the field, as well as
information about works of art that the charity has helped
museums and galleries add to their collections.
Distribution
Art Quarterly is mailed directly to the homes of all Art Fund
members in the UK and internationally. It is also distributed
to high-level arts donors; museum and gallery directors and
professionals; companies, including architectural practices,
fashion houses, financial services and creative industries;
and to students via university and college libraries.
Opinion
It must have been the most eagerly awaited
Harold Offeh
© STRATFIELD SAYE PRESERVATION TRUST
exhibition of 2020. Not the biggest, with only
seven works. Yet in reuniting what is perhaps
the most admired sequence of paintings ever
created, for the first time in more than 400 years, What is the
importance of
the National Gallery’s ‘Titian: Love, Desire, Death’
offered a true once-in-a-lifetime experience,
Afrofuturism
one which – due to the peculiar nature of
these paintings’ evolution – even the artist
himself never enjoyed.
Unlike rival Renaissance highpoints such
as Michelangelo’s Sistine Chapel or Raphael’s to you?
paintings for the papal apartments, Titian’s
Are cultural prizes still meaningful?
Poesie – or poetries – aren’t superhuman in
scale. Designed to hang in the private rooms of
the most powerful man in the world, Philip II
of Spain, they average around 1.8m by 1.5m:
impressive, but just about livable with, in the
average modern interior.
Recent arts prizes have been shared or split between nominees, resulting in their relevance
But what these paintings lack in size they
make up for in depth and complexity of meaning,
virtuoso technique and bravura sensual impact.
being questioned. Nigel Prince, director of Cardiff-based arts organisation Artes Mundi,
which runs a biennial international art prize and exhibition, makes the case that awards
Gold
The show offered the opportunity to immerse
oneself in a group of works created for a great
should both reflect their times and evolve with them F
goes
Renaissance potentate – works described by
Lucian Freud as ‘the most beautiful paintings
in the world’ – in an intimate, single-room show. From time to time the history of cultural Award ceremony for
2
And it was a chance to ponder, in our age of prizes is brought into focus. In 1993 Artes Mundi 6, 2015.
the stunt by the K Foundation to award From left to right: Ghana-born, Cambridge-based artist even alien, African civilisation and the to dictate what people might run with, it’s
hyper-sensitive identity politics, the problematic shortlisted artists Carlos
meanings of works, inspired by the Ancient £40,000 to Rachel Whiteread as the Harold Offeh’s work encompasses African-American experience, which has not necessarily all going to be optimistic.
Bunga, Sanja Iveković,
Roman poet Ovid, that might be considered ‘worst artist of the year’ as she Renzo Martens, Renata
photography, video, performance and been shaped by slavery and the loss of That’s really important for actual change
the ultimate embodiment of the male gaze. simultaneously won the £20,000 Turner Lucas, Noor Afshan social practice. For his project Hail the biography and identity. It’s a funky to happen. If one looks at big cultural
Prize for an outstanding presentation Mirza, Theaster Gates, New Prophets (supported by Art Fund), narrative, but Sun Ra was totally invested and social changes, you’ve always needed
24 Se
Yet the show had barely opened on 16 March
of her work, provided one such moment. Brad Butler and commissioned by Bold Tendencies for in that in terms of self-actualisation and people to think the unthinkable, whether
when the gallery closed its doors, apparently
Debate hinged on value or a supposed Ragnar Kjartansson 2021 – for its multistorey-car-park autopoiesis. Giving up his name, Herman that’s the abolitionists or [women’s rights
indefinitely, the following Friday. BBC2’s
celebratory documentary on the exhibition – examination of the relationship between exhibition space in Peckham, London – P Blount, is a strategy of reclaiming advocate] Mary Wollstonecraft.
to which, full disclosure, I was a contributor – art, money and the critical establishment, Offeh has launched an open call inviting autonomy and agency. For me, the ship With the pandemic, the sculpture has
aired on 4 April and was recut at the last minute, as well as questioning the role of prize the public’s visions for the future. as an object represents some key ideas: been postponed to 2021, but it has led to
retitled Titian Behind Closed Doors: a wistful
homage to an exhibition no one would see.
awarding itself. In the mid-1990s
especially, there was a notional currency
They will be broadcast from a sculpture
of an intergalactic spaceship, inspired by
it refers to figures such as [pioneering
black nationalist] Marcus Garvey, the
questions about the project’s relevance
to this new period. It’s brought reflection, 6O
The thought of those magnificent canvases to such action. More recent events have Afrofuturism philosophy and its pioneer, Middle Passage of the slave trade and speculation and fear. Obviously, with
hidden away behind the National’s massively been generated by a different impulse, Above: project design experimental jazz musician Sun Ra. the idea of reclaiming the ship as a vessel George Floyd’s death, in the US, there’s
within a different context – that of a for Hail the New that might transport the diaspora home. a re-examination of history, and cultural
solid doors haunted art lovers throughout the
centring on collaboration and unity, as Prophets by Harold Bold Tendencies approached me last year The basic premise of the commission and national identities are being
goldsm
land: were the paintings still there, awaiting the Offeh and Jack Scott;
moment when the gallery’s doors would once a necessary response to a climate of
above, right: portrait
about a commission for this summer. is a scale model recreation of that ship. challenged. The project has taken on #gol
again be thrown open – and who knew when division and populism. by which a prize creates significance and other international institutions. Often of Harold Offeh I thought, ‘Here’s an opportunity to draw It’s going to be slightly hovering on stilts a deeper resonance, and it has given
that would be? Or had they been returned to For example, the Booker last year was consequence, how do we ensure that this these activities continue the relationships on my previous projects’ – which often and will probably be made of fibreglass us the opportunity to launch this call.
their respective galleries round the world under awarded to both Bernardine Evaristo’s is achieved for the benefit of all – artists, with our alumni artists. Furthermore, involved communities and thinking and coated with shiny yellow resin. People can write manifestos or poetry,
cover of lockdown? It was a situation that would novel Girl, Woman, Other and Margaret audience and communities alike? we also co-administer a purchase about the dynamics of a space through We’ve drawn a lot from sci-fi aesthetics. make music and images, whether that’s
highlight important questions about how we Atwood’s The Testaments, and in 2016 There is, needless to say, a multitude prize for the national collection of the lens of Afrofuturism and speculative The whole ship looks like two flaming video, drawing or photography. The ship
can appreciate pictures without the pictures came Helen Marten’s decision to share of considerations in play during the contemporary art for Wales, discrete fictions. The Mothership Collective [2006] eyeballs with these long tails – a nod to will broadcast all of this. We’ll make a
the Hepworth Sculpture Prize with her deliberations of a prize jury far beyond from the Artes Mundi Prize itself. was a commission to take over the South that idea of envisioning futures. We’ve soundtrack of samplings of submitted
themselves, and about how we will consume
fellow nominees, and, of course, the grappling with ideas of unnecessary Obviously, this is only one model but it London Gallery and fed into a line been thinking about a landing pad so material and screen videos that people
art generally in the post-Covid world.
news that for the Turner Prize in 2019, competition and notions of excellence forms a cohesive, integrated programme of research into Sun Ra but also looked people can congregate around it. It will be have produced. The ship will be a
If these paintings’ predicament, at the end
Lawrence Abu Hamdan, Helen Cammock, or (in)appropriate comparison of type, that gives meaning to the existence at alternative futures. Futurama (2010) lit up, and I’m clinging to the idea of some backdrop to readings, conversations and
of March, was unprecedented, so too was the
Oscar Murillo and Tai Shani wrote to the range or quality of work. Reputation, of the prize itself and crucially creates involved working with a leadership dry ice, although that might not happen. performances, and I’m hoping to build a
situation in which they were created.
judges asking that they be viewed as a stage of career, how an award might significant networks with partners programme for young black people The car park has this unbelievable website to showcase all the contributions.
At the time of the commissioning of the
‘collective’, whereby the entire shortlist impact or be meaningful to an individual locally, nationally and internationally, to rethink public space in Peckham. panorama of London, so it speaks to the We’ve had quite a few responses
Poesie, around 1549, Titian was in his early
were established as joint winners. And so artist all shape and inform discussions. rooting us firmly within and for the My work is often about re-enactments urban landscape. The project isn’t about already – predictions, compositions,
sixties, Venice’s greatest painter, and celebrated
again the idea of why something should Artes Mundi is more than merely a artists and publics we work with. of histories, of performances, so my idea a weird object folly; it is a catalyst for postcards. There’s concern about the
throughout Europe as the greatest of portrait
Titian in the flesh
continue is raised. prize, one whose founding remit back in Because one form of award has was to recreate Sun Ra’s Mothership from audiences to engage in their own myth environment, Black Lives Matter,
Titian, Danaë, c1551-53
Before these more recent occurrences, 2002 acknowledged that social, political been the model for several years doesn’t the 1974 cult film Space is the Place. It’s making and prophesying. It invites structural/political things such as
ARTWORK: COURTESY BOLD TENDENCIES. PORTRAIT: PHOTO: © ALEX O’BRIEN
for Artes Mundi in 2015 Theaster Gates and economic context as evidenced mean that a prize should not be able a lo-fi sci-fi featuring Sun Ra and his people to assume the methodology of universal basic income and everything
made the decision to share the prize through the lens of contemporary to change. That evolution should Arkestra [ensemble] landing in Oakland, Sun Ra as a visionary. The call and title in between like future foods, clothes and
money with the eight other nominated visual arts, would provide its modus examine everything from the near San Francisco, and preaching to the are about this process of calling forth and alternative technologies. For me, just
artists. Consequently, this has prompted operandi. Aside from the biennial nomination, the selection and jury African-American community about the giving permission to be soothsayers and the opportunity to engage in any wild,
an ongoing review as we plan each new exhibition and associated £40,000 process and the context and ways in virtues of space and alternative planets. fantasists. I’m concerned about who is crazy, imaginative ideas and a speculative
The National Gallery’s once-in-a-lifetime Titian exhibition
edition. Whether cultural prizes remain prize – that in itself provides a catalytic which artists and their work are It’s a philosophy-manifesto movie, able to speak to the future. Culturally, process has a lot of political agency.
viable as a form is, of course, valid to moment across the part of Wales in presented and celebrated, to the award extended music video and also, bizarrely, there’s been a squeezing-out of people’s
IMAGE © WALES NEWS SERVICE
was a temporary casualty of the coronavirus spring shuttering. query, given the acknowledgement that
artists, on a day-to-day basis, are not in
which we work and beyond – Artes Mundi
operates an ongoing public programme
going to either a single ‘winner’ or to
all artists involved, and more. And
like a 1970s blaxploitation film. engagement with the imaginative or the zTo contribute to Hail the New Prophets,
Mark Hudson tells the story of how the paintings were competition with each other. So, as it is that embraces community outreach perhaps more importantly that analysis
The Mothership is an important
symbolic reference within Afrofuturism.
speculative. Everything has been about
getting a job. In workshops people say,
visit boldtendencies.com, closing
date 19 September
created, and how lockdown has made us see them afresh for Artes Mundi, if it comes down to
relevance and resonance as the means
initiatives, co-commissions and
exhibitions of off-site projects with
should look at who is being served and
how this can create opportunity.
For Sun Ra, it’s about this myth narrative ‘Oh, I guess I never really think’ or, ‘No
that claims Ancient Egypt as an advanced, one’s really asked me.’ While I don’t want Interview by Elizabeth Fullerton.
18 Autumn 2020 Art Quarterly Art Quarterly Autumn 2020 19
Art Quarterly Spring 2020 63
88 Autumn 2020 Art Quarterly
AQ AUT20 Goldsmiths Fair WP IBC.indd 1
Goldsmith_Fair_2020_Art_Quartly_Advert_Final
Agenda ‘Ashley’s inflatables
Funded
Below, top right: Bangs
Hair Salon takeover;
fill the spaces where bottom: Robert Diament,
they are shown but Russell Tovey and Helen
Cammock for Talk Art
fit into a backpack’ at Art Assembly
Clare O’Dowd
Making connections Art Fund Museum of the Year is the Left, below and right:
Peter Hudson, Tate Art Assembly
Illuminating
biggest museum prize in the world,
celebrating innovation and achievement St Ives In Colour, 2019
festival update
in museums and galleries across the UK.
There was a great atmosphere
community
The overall winner receives £100,000,
while each of the other finalists is at Art Assembly, the inaugural
awarded £10,000. As well as boosting one-day festival realised by
Henry Moore Institute, Leeds Art Fund in collaboration with
engagement
visitor figures and profiles during the
Economies
campaign, the prize helps to reinforce Waltham Forest, the first
finalists’ relationships with their London Borough of Culture, on
audiences, both nationally and locally. 23 November. In venues across
of scale
When Tate St Ives won in 2018, its Walthamstow, people attended join us for the Annual General
An interactive and director, Anne Barlow, was clear from the
outset that she wanted to use the money installations at the Wellcome Collection,
a programme of workshops,
talks, displays and performances
Meeting at 5pm on Thursday
18 June at Art Fund’s offices,
collaborative light ‘to continue to support artist-led projects the Royal College of Art and Fabrica presented by arts organisations 2 Granary Square, King’s Cross,
designed for, and in collaboration with, Gallery, Brighton. It was his project for from around the country. London N1C 4BH. All members
Portable Sculpture installation was the the communities of St Ives’. Fabrica in 2017 that formed the basis of Highlights included an outdoor are welcome. To confirm your
5 February to 6 June
Sculpture is often associated with large, monumental
first project funded by Thus it came about that Peter Hudson, Tate St Ives In Colour. The original project bakery with breads from around place please email rsvp@
whose participatory works explore human was a co-commission with Project Art the world from Lake District- artfund.org
objects that are weighty and permanent. But there the prize money from communication and how it is mediated Works in Hastings, an organisation based Grizedale Arts and a
News on Art Pass
is a long history of portable art, from small, carved takeover of Bangs Hair Salon
stones made by nomadic tribes during the Ice Age to Tate St Ives winning by technology, was commissioned to
produce an immersive and interactive
which runs artist studios for people with
complex needs. As part of his research, by St Helens-based arts
medieval reliquaries and portable shrines. In the 20th Museum of the Year 2018, light installation as part of the gallery’s Hudson helped out with workshops organisation Heart of Glass membership
and 21st centuries, many artists have made sculptures annual Winter Festival (30 November and observed their behaviour. and artist James Leadbitter.
deliberately designed to fold up, pack down or be as Anna McNay reports 2019 to 5 January 2020) – the first project ‘One issue that really fed into the work,’ Actor Russell Tovey and gallerist Art Fund is pleased to report
dismantled, often in response to unstable geopolitics, to be funded by the prize money. he explains, ‘was freedom of expression. Robert Diament hosted a that membership has now
economic shifts or changes in personal circumstances. Hudson, who started out as a A lot of the time, in their daily lives, special live edition of their increased to 159,000, including
A new group exhibition at the Henry Moore Institute composer and music teacher (hence people with complex needs are told to popular podcast, Talk Art, with 24,000 Student Art Pass
will present work by 15 artists who, whether by design his interest in audience participation), pipe down or stop making a mess. The guest, artist Helen Cammock, members. In addition to a year
or necessity, have produced sculptures that are has exhibited large-scale interactive way they interact with the world doesn’t who just days later became of art for only £5, Student Art
easily transportable. Curator Clare O’Dowd spoke one of the Turner Prize 2019 Pass members also gain access
to David Trigg about its themes. necessarily follow the same rules as from the studio was simultaneously winning collective. to regular paid opportunities
neurotypical people. I wanted to provide projected into the Loggia, outside the and creative competitions,
Art Fund AGM increase their knowledge and
David Trigg: Since any small sculpture could be a space where they could explore entrance to the gallery, where it could
defined as portable, what is distinctive about the creativity without boundaries. The other be seen from quite a distance. ‘I felt like experience of the arts, broaden
works in this exhibition? aspect was about having control over it created a beacon,’ says Hudson. ‘It was information their networks and improve
Clare O’Dowd: They all reflect ideas of movement and your environment, and I reflected that like a lighthouse because of its cylindrical their career-development
Along with the generosity prospects. Recent opportunities
BANGS HAIR SALON: © SAVANNAH PHOTOGRAPHIC/ALEX HARVEY-BROWN. ART TALKS: PHOTO © DAVID LEVENE. BOTH IMAGES COURTESY ART ASSEMBLY 2019. WALTHAMSTOW
journeys, and each one has been created to be easily through the use of coloured light in a nature.’ After the gallery had closed each
transported. A lot of sculptures are portable simply light-controlled space. I wanted anyone day, the light in the Loggia remained on, of trusts, foundations and include acting as paid venue
because they’re small, but some in the exhibition are – a child, an elderly person or someone replaying the recorded interactions from individuals, Art Fund’s hosts at one-day festival Art
huge. Do Ho Suh’s fabric sculptures, for example, take on the neurodiverse spectrum – to be that day. On Saturdays, the microphone charitable work is made Assembly (see above), which
up a vast amount of space in the gallery but when Above, left: Do Ho Suh, which he made to preserve his legacy in the face of It’s going to be very brightly coloured and eye-catching. able to have an equal effect on the room. was taken from the studio to the Loggia, possible by its members through included training in order
Hub, Wielandstr. 18,
they’re packed down, they’re tiny. having to go into exile during the Second World War. Her inflatables are deliberately designed to fill the It’s a way of democratising the space.’ where members of the public could their purchase of a National Art to support participating
12159 Berlin, 2015;
above: studio view of
It’s essentially his life’s work in a box. spaces in which they are shown but they pack down into Hudson developed different ways speak, shout or sing into it, or even just Pass. As a member, if you want organisations on the day in
DT: Portable sculpture has a long history. Why are you Claire Ashley, Clown 3, a backpack. Her reasons for making portable sculpture of interacting with the coloured light, tap it, and see the lights react. The pitch to hear about the museums, roles such as directing visitors
focusing specifically on the 20th and 21st centuries? 2019; left: Mohamad DT: What other reasons have artists had for making are practical. She didn’t have much studio space and including a sphere, placed on a plinth, of their voice affected the colour, while projects and people your and conducting surveys to
CO: I wanted to give the exhibition more of a focus. Hafez, Baggage Series portable sculpture? had a growing family. Making inflatables allowed which could be picked up, shaken the volume controlled the brightness. contribution is helping, please evaluate the event.
Crucially, I wanted to explore the narratives behind the #3 from Baggage Series CO: Some of the reasons are really practical and prosaic. her to store the work easily and to pack it down when and moved about, and a microphone. The installation was launched at the
SUH: © DO HO SUH, COURTESY THE ARTIST, LEHMANN MAUPIN AND VICTORIA MIRO. HAFEZ: COURTESY THE ARTIST
sculptures, to concentrate on the sociopolitical contexts 2006-16; above, right: Alexander Calder’s mobiles are essentially flat-packs; she wasn’t working on it. The commission for Tate St Ives gave opening of the Winter Festival, where the
James Ackerley, Studio
in which they were produced. When you start peeling Objects, 2015, installation
he designed them to come apart so that he could easily him the opportunity to develop and Tate St Ives Choir, comprising staff and
ASHLEY: PHOTO: COURTESY THE ARTIST.ACKERLEY: COURTESY THE ARTIST. PHOTO: © ANNIE FENG
back the layers it’s like dropping a stone in a pond, the view, Castlefield Gallery, package them up and post them to places without DT: As the art world becomes more concerned about refine these objects, as well as the volunteers, sang to the lights. The gallery
narratives behind the artworks ripple out. Narrowing Manchester, 2017 attracting the attention of Customs. They are really the environmental impact of its activities, does complex programming behind it all. welcomed more than 900 visitors of
the scope allows us to tell these stories. innovative, but part of his reason was also economic. ‘Portable Sculpture’ offer any solutions? The core of the work was in the Foyle all ages during this opening, and more
James Ackerley also makes flat-pack sculptures. He’s CO: Some of the works of art are really relevant to those Studio, where one visitor at a time was than 200 local people sang as part of the
DT: The exhibition begins with artists who a young artist and has had to move studios many times. concerns. Liz Ensz’s Convexity/Concavity (2015) speaks to in charge of the colour and its intensity. programme. Throughout, cushions and
were displaced due to the Second World War. Like so many of his generation, he has found it very the impact of humans on the environment. It consists of ‘The language of a plinth is not one blankets in the Loggia drew visitors in,
Do contemporary geopolitical issues also feature? difficult to find permanent, affordable studio space. large-scale silkscreen prints on fabric showing images of interaction,’ Hudson says. ‘People many of whom would not normally
CO: Yes. Mohamad Hafez’s work relates to the current He makes meticulous cardboard sculptures that can from Google Earth that can be folded up and transported would come in, pick up the sphere, venture into an art gallery.
political situation in Syria. He was living in the US when be dismantled and put into a portfolio. They’re designed in hand luggage. Each time the work is shown, Ensz get an immediate pulse of light, and Tate St Ives is still collating a final
HUDSON: © TATE. PHOTOS BY KIRSTIN PRISK
the civil war broke out and couldn’t go back to his home for swift disassembly, in case he has to move again. collects local junk to produce structures for them to be look confused. Then they’d shake it evaluation of the project, but visitor
country. We’re showing works from his Baggage Series draped over. As with all of the works in the exhibition, and everything would turn super-bright. numbers and feedback were very positive,
in which he fills suitcases with tiny architectural scenes DT: You have commissioned Claire Ashley to make they’re deliberately made to be easily transportable, so It was really lovely watching people as was social-media reach. With both
depicting destroyed cities. The suitcase is symbolic of the a new work for the exhibition. What can visitors the environmental impact is naturally reduced. interact. It is quite nerve-racking making artist and gallery happy with how things
refugee’s experience and his work echoes a lot of what expect to see? something interactive. There’s always turned out, it will be interesting to see
you will see in the exhibition’s historical exhibits, such CO: Claire Ashley’s contribution is a large-scale inflatable henry-moore.org the risk of something breaking, but the what Tate St Ives commissions as its next
as Marcel Duchamp’s Boîte-en-valise (1935-41/1968), sculpture incorporating elements of children’s toys. Free to all pay-off is definitely worth it.’ The colour prize-money-funded project.
4 Winter 2020 Art Quarterly Art Quarterly Winter 2020 5 94 Spring 2020 Art Quarterly Art Quarterly Spring 2020 95
AQ.Winter20.AGENDA.01PMHSPM2VRFINAL.indd 4 10/11/2020 09:28 AQ.Winter20.AGENDA.01PMHSPM2VRFINAL.indd 5 10/11/2020 09:28
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