Art Periodicals and Contemporary Art Worlds (Part I) a Historical Exploration Gwen L

ARTICLE

Art PeriodicAls And conteMPorArY Art Worlds (PArt i) A historicAl eXPlorAtion gwen l. allen

Artforum is an art magazine published in the west—but not only a magazine of western art. We are concerned fi rst with western activity but claim the world of art as our domain. Artforum presents a medium for free exchange of critical opinion.1

This editorial statement appeared in the fi rst issue of Artforum, founded in San Francisco, California, in 1962. The “west” here referred not to Western culture in general, but specifi cally to the western region of the United States, refl ecting Artforum’s initial goal to foster West Coast art, which was marginalized by the dominant, New York-centered art press at the time.2 However, the editors also voiced their aspiration to inhabit a larger “world of art,” a phrase that at once anticipates the specialized social and professional realm that would come to be known as the art world, and hints at a nascent internationalism (with overtones of cultural imperialism), foreshadowing the role Artforum would come to play in the globalized art world of today. The 1960s marked a new historical understanding of the “art world”—a term that would, in fact,

1 Editorial note, Artforum 1, no. 1 (June 1962). 2 The New York art press in the early 1960s consisted of Art in America, Arts Magazine, and Art News. Artforum was specifi cally founded as “a counterpoint to Art News,” which under the editorship of Thomas Hess in the 1950s had become the leading art magazine in the United States at that time. John Coplans, quoted in “Art as News,” Newsweek, September 18, 1972.

36 artmargins 5:3 and distribution). and production conditionsof their technological and material (i.e., the tus” “appara own their by as well as contexts, political economic,and social, different and/or compromised within to dostrengthened so is capacity how and their sites as of criticality, function may worlds, how they art within counterpublics and publics mediate of howmodels magazines important offers history world, this art today’s globalized in media online newer and periodicals role about the of art ple). we think As exam prime the point, become, had that by press Artforum (of which art commercial of the character promotional increasingly the teract community, while artistic regional resented, gave voice underrep to an Artforum time: world of their art the within publicity of critical channels alternative to provide sought October and Artforum both ways, different In periodicals. artists’ and azines, mag little magazines, art century 19th pamphlets, Salon self-published including Enlightenment, to the back stemming practices publishing field of alarger within history this contextualizes It further October. journal critical to foundthe of editors its of several defection the way, the along prominence; and, international and to national rise its history of Artforum history early at the back world 1970s 1960s and looking by of the art American of hegemony. instruments identity, sites of regional exchange, of critical world: vehicles emerging this playedwithin magazines roles that contradictory different, many the reveals and juncture historical at this imagined world being was 5 4 3 later, 1964 in years afew just Danto Arthur philosopher American the by coined be late capitalism. under transformed or were substantially developed culture) media lar spectacu market, art of the expansion and commercialization vast the world (globalization, art contemporary of our institutions and ditions Edmund Jephcott (New York: Harcourt Brace Jovanovich, 1978), 220–38. 1978), Jovanovich, Brace York: Harcourt (New Jephcott Edmund Writings Autobiographical Aphorisms, Essays, Reflections: In Producer.” as Author “The essay Benjamin’s Walter references “apparatus” term This 178–209. 1984): Text Social 60s,” the “Periodizing Jameson, Fredric See 19 no. (1964): 61, 571–84. Philosophy of Journal Artworld,” “The Danto, Arthur This essay considers how such contradictions informed the North North the informed contradictions essay considers how such This serve as case case as serve October and of Artforum histories the particular, In 3 —and during the subsequent decades, many of the con of the many decades, subsequent the during —and 4 Artforum 5 —its beginnings as a small regional art magazine; magazine; art regional asmall as beginnings —its ’s founding editorial suggests how the art art how the suggests ’s editorial founding attempted to coun attempted October , no. 9/10 (Spring/Summer 9/10, no. (Spring/Summer , ed. Peter Demetz, trans. trans. Demetz, Peter , ed. ------Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 . The hegemonic magazines (Artforum hegemonic magazines . The circus. become abig has Institution Art international where the unfair, socially and anarchical, economically unidirectional, politically is Brumaria magazine Spanish published dently To indepen of participate). the editors quote the here, certainly cussed dis two the including magazines, which in (processes institutions it Western neoliberal by exploit and to tame efforts pervasive the and today globe the around production of artistic multiplicity and geneity hetero unprecedented the both signals that contested arena world—a art contemporary of the hierarchies geopolitical the by characterized context, aglobal in now world occur 1970s, 1960s and they of the art American North the played out in dynamics out these If to oppose. set conditionsthey very the reinforcing dominant, end up becoming often world—so art mainstream conditionsof contest the the gins—to mar the in off start that publications which in ways for the studies 6 into it from collapsing keeps and it world up the into of art, takes that theory It the is of art. theory acertain is box of aBrillo consisting of art a work and box aBrillo between difference the end makes the in “What work Warhol, of the Andy he observed, Discussing upon such. as agreed and become recognized works of art which through possibility of realm theoretical and discursive worldas a art the defined Danto of art. value and meaning, status, the determines that framework tive interpre and institutional world aspecialized as art of the theorization and understanding anew marked Danto’s Artworld” 1964 essay “The M Art Worlds, Art institution.” of this nature October tive modes of publication today. of modes publication tive out new, we seek alterna tales—as or cautionary touchstones whether provide— they examples about the critically to think and publications of these complicatehistories and the understand rather, Ihope to better embody; they criticism and of publication models American North of Artforum not dominance essay is to reinforce the this pointThe of these processes. upon reflect and resist, challenge, that publicity sites as of critical function also can periodicals attests, December 2007): 46. 2007): December (November/ 146 Philosophy Radical Lie,” Big “The Montero, Irene and Corbeira Dario ) play a role that hardly questions the classist and perverse perverse and classist the questions ) play hardly arole that a g a 6 itself itself of Brumaria Yet,example the as zines , Parkett : “We live in a world that : “Weaworld in live that Flash Art , Flash , October , Frieze , and the the , and - - , - - - - 37 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021

38 artmargins 5:3 Marcel Duchamp.TheBlindMan,no.1(1917).ImagecourtesyofRogerConover. status of” art. of” status institutional setting.” institutional acertain took place within Duchamp’s act “that fact the was work of art Fountain 11 11 10 9 8 7 Independent Artists and subsequently lost) was documented in a in documented lost) was subsequently and Artists Independent of Society the by rejected was 1917 (which Fountain original the Man that Blind The periodical Duchamp’s self-published in it was For of art. status the conferring in role of magazines crucial equally of the of revealing Duchamp’sis Fountain example his galleries, Dickie, “Defining Art,” 255. Art,” “Defining Dickie, 1982). Press, California of University (Berkeley: Worlds Art Becker, Howard See Becker. Howard of those notably most world, art the of theories sociological subsequent on influential been have Dickie and Danto Both 255. 1969): 3(July no. 6, Quarterly Philosophical American Art,” “Defining Dickie, George included. world this what and who about assumptions Euro-American deeply on based was world art the of concept Danto’s that rather but existed, world art an that places only the were these that suggesting not Iam To clarify, 580. Ibid., 581. Artworld,” “The Danto, , arguing that what transformed the ready-made urinal into a into ready-made the urinal what transformed that , arguing 10 Dickie illustrated his point with Marcel Duchamp’s Marcel with point his illustrated Dickie 11 While Dickie focused mainly on museums and and on museums mainly focused Dickie While whose practices “confer the whose practices institution” world a“social as art the defining of art, theory institutional the as known is towhat develop observations upon Danto’s expanded described it. described he as theory, artistic and “atmosphere” of language simply an moremuch than was referring was Danto world to which Yet, art the the real object which it is.” which object real the Europe. United Western States and the in primarily located publications, and institutions, markets, critics, ences and audi artists, works of art, between of relationships set In 1969, George Dickie 1969,In Dickie George 9 8 It acomplex was - 7

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 Art in America Art and Avalanche openings, and esthetics parties, monuments and It ideas. and includes resources, messages, objects, of persons, It asum is collections. private and ies, museums, galler writings; informative and historical, critical, reproductions; and works of art “network,” composed of “original acommunication itself generally. more culture of media expansion of the 1970s, 1960s and part as the world. art work the entered this which through vehicle actual the was magazine the that argued it be could Thus Stieglitz. Alfred by photograph taken 14 14 13 12 judgment. The critic Rosalind Krauss, writing in the first issue of the issue of first the in writing Krauss, Rosalind critic The judgment. and analysis aprocess of as aesthetic itself of criticism function tional tradi the some outstripped in had ways economic and capital cultural value.” economic its extent, to alarge for and, fame basis its the became fact, the after of more information accretions with along installation, record no-longer-extant of the This magazine. art an photograph in about reproduced a and as written then and agallery in exhibited be work hadto only as is, ‘art’—a value—that having as defined to be that of seemed It ‘art.’ thestatus attaining have it difficulty would zine about amaga reproduced and in wasn’t written awork “If of art stated: famously Graham Dan artist world 1960s, the of the art American it). or challenging upholding in of publications kinds roles of the different and structure, power of this contested nature the suggest also Avalanche and America in of Art examples his (though publics various its among munication com the mediated and system information its to organize helped they world’s art the structure: sites power in were privileged magazines out, (Cambridge, MA: MIT Press, 1999), 12. 1999), Press, MIT MA: (Cambridge, Art His on Graham Dan by Writings Selected Power: Mirror in Art,’” Conceptual of ‘A Pages: History Magazine Works for “My Graham, Dan 29. 1972): (September Artforum aSystem,” as World Described Art The “Network: Alloway, Lawrence 1991). Press, University Duke NC: (Durham, Capitalism Late of Logic Cultural or, the Society Network the of Rise The Castells, Manuel See wealth. economic and cultural of creation the in tance impor agrowing assumed have communication and information of processes and sites wherein society,” “network or age information post-Fordist capitalist, late the with ciated asso shifts economic and social larger to correspond world art the within changes These The role of art magazines would grow even more important during during more even grow important would magazines role ofThe art Observing the new importance of the art magazine in the the in magazine art of the importance new the Observing 14 As Graham suggests, the art magazine’s role in producing role magazine’s producing in art the suggests, Graham As 12 By 1972, Lawrence Alloway would define the art worldas art the define would Alloway Lawrence By1972, , vol. 1 (Oxford: Blackwell, 1996), and Fredric Jameson, Jameson, Fredric and 1996), Blackwell, 1 (Oxford: , vol. , ed. Alexander Alberro Alberro Alexander , ed. .” 13 As he pointed he pointed As Postmodernism, Postmodernism, Two-Way ------39 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021

40 artmargins 5:3 18 17 16 the magazine and the art world alike. art the and magazine the of categories the transforming further are ofprocesses globalization and technologies now communication are new at amoment which in we media, mass by linked system communication world anetworked as notion of the art world.” art notion of the historical of a eclipse to amounts “a that certain Danto,by defined world it as was art the in shift adramatic witnessing we are argued, good appears.’”good is which that good, is appears which ‘that more than nothing says inaccessible. and It indisputable positive, enormously something as itself presents spectacle follows: as “The Guy Debord described which character, “tautological” and affirmative self-perpetuating culture’s media of spectacular effect an as automatically and instantly of art status the now conferred magazine art upon objects—the value and meaning aesthetic world long instilled had art modern the which through critique of analysis—modes and reflection, research, knowledge, theoretical and historical of Instead facilitating it. theorized world had Danto as art of the functioning very the altered ular—had partic in magazine art the of the media—and of influence growing the 15 art.” as existence its of verifying means only the virtually decade, last of the course the in matured has that generation become, for has the media the through disseminated and reproduced, work published, be artist’s an That media. mass to the relation its by affected disastrously and deeply been world has art the years fifteen last the “In with): to begin prompted her to fact foundOctober in had that (a situation situation this 1976, lament in would October journal set of practices that continue to depend insidiously upon abroadly insidiously to continue depend that of practices set narrower refers to amuch world usually art the by it canonized as is art “multiplicity,” by contemporary characterized be may globe the around of art experience actual YetDanto’s Western model. the while modern, of universality presumed the have challenged ways various in which meaning, and production for art’s frameworks diverse and multiple (Cambridge, MA: MIT Press, 2013), 3. 2013), Press, MIT MA: (Cambridge, World Art the Forgetting Lee, M. Pamela 2013). Press, MIT MA: (Cambridge, World Art Your Everyday Relyea, Lane see today, for stage the set 1970s and 1960s the of world art networked the how of discussion For adetailed n.p. 1977), &Red, Black MI: (Detroit, Spectacle the of Society The Debord, Guy Rosalind Krauss, “Video: The Aesthetics of Narcissism,” October Narcissism,” of Aesthetics The “Video: Krauss, Rosalind If the 1960s and 1970s marked a new stage in the American art art American the in stage anew 1970s 1960s and marked the If 16 18 Globalization has brought into proximity proximity into brought has Globalization 17 Indeed, as Pamela M. Lee has has Lee M. Pamela as Indeed, 15 As Krauss points out, out, points Krauss As , no. 1(1976): 59. , no. - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 global art market. art global the and of neoliberalism tenets the compatible, not complicit,with if often too all is which reality, disparate order upon this deterritorialized) and diversified (if ahomogenizing imposes world (singular) art porary coincide— and coexist fact in worlds that art different many hence, the world of the today—and parts various in art characterize that leaves us with even less of a foothold from which to critically to critically less of from which even afoothold leaves with us that circle avicious creating them, world perpetuates art the in changes tal. capi cultural and economic, political, into information and images nel help to chan media, online new as well as magazines, museums—art and galleries, fairs, art auctions, of biennials, arena—composed global commercialized ahighly into world morphed has art contemporary critical distance from which to reflect upon or resist these processes. upon or resist to reflect from which distance critical or traction of gaining possibility the over,” but precludes all which nomic and political ends, has led to “a new kind of to “a led informe has kind ends, new political nomic and eco toward instrumentalization culture’s with media),along global spectacular and market, the (design, spheres ofnally, activity separate formerly, and at nomi art least between breakdown the that argues she and writes, Lee of agent globalization,” and object both itself is world art power. “The economic political and and capital of global those with coincide increasingly operations and activities its world, so that art on the wrought has globalization that effects wide-ranging the World Art the Forgetting 2013 book, her in diagnoses Lee Pamela that transformation astructural signal phenomena such apparatus, media spectacular of its intensification Western set of criteria and traditions. and of criteria Western set 22 22 21 20 19 21 More than just a geographical expansion of the art world an and art of the expansion ageographical just More than Forgetting the Art World Art the Forgetting Lee, W. 2008). W. Norton, Artforum on largely focused World Art the in Days Seven workings, world’s inside art the of exposé best-selling 2008 her In 5–28. 1(2011): no. 1, ArtMargins Art?,” Was Contemporary “What Esanu, Octavian See 77–97. 2014): 3(October no. 3, ArtMargins China,” of Case the and Canon Art Contemporary Global “The Lago, Dal Francesca see term, this of nature contested the of account For an 4–5. 2009), Press, Chicago of University (Chicago: Art? Contemporary Is What Smith, Terry see art, contemporary of antinomies and multiplicity the of account For an Indeed, as Lee notes, the loss of criticality resulting from these from these resulting loss of criticality notes, the Lee as Indeed, Art magazines participate profoundly in these processes. As the the As processes. these in profoundly participate magazines Art , Sarah Thornton devoted an entire chapter to “The Magazine,” in which she she which in Magazine,” “The to chapter entire an devoted Thornton , Sarah 20 (New York: (New World Art the in Days Seven Thornton, . Sarah , 4, 3. , 4, . She is particularly concerned with with concerned . She particularly is 19 Despite the vast differences that that differences vast the Despite : a new all : anew contem the - - - 22 - - - 41 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021

42 artmargins 5:3 ries. centu 19th and late 18th the evolved during periodicals art specialized as eroded gradually was dimension political its of commentary, form 26 26 25 24 23 1737. in Louvre at public the general the to opened first was which Salon, the of art, exhibition public regular earliest of the wake the in circulated pamphlets self-published the in lies periodical art of the of point reference origin for the important An Periodic Art today. changes these upon to reflect from which tance some offer dis might history this hope that the magazine—in art the andspecifically criticism, reflection—art and sites of criticality tional emergence development and of the onetradi of the tracing cally, by histori situation to approach this what In follows, Itry them. analyze power’s authority. ruling the to oppose class bourgeois the allowed debate, which critical rational- in publicity, grounded of egalitarian progressive and kind new of a formation to the criticism art early of this importance the stresses (1962), Sphere Jürgen Habermas Public the of Transformation Structural The Europe, sphere 18th-century public in emergence bourgeois of the and political establishment more generally. establishment political and social on the extension, by Salon—and the sponsored that Sculpture and of Academy Painting Royal regime-backed on the commentary or explicitly implicitly was of art judgment painting, French century account of 18th- his in detail in described Crow has Thomas sion. As dimen ethical and political deeply its was criticism art 18th-century 1904), one of the most important vehicles for art criticism in in criticism for art vehicles 1904), important onemost of the 26 Company, 1976), 3–10, 13–20. 3–10, 1976), Company, Magazines Art of Centuries Two Press: Art The in Journals,” “Scholarly Fawcett, Trevor and Periodicals,” Century “Nineteenth Burton, Anthony See public. ageneral for intended not journals, torical his art scholarly specialized more or staid, and conservative accordingly and themselves, academies art of organs either were art to solely devoted periodicals earliest the of Some 1987). Press, University Yale CT: Haven, (New Paris Eighteenth-Century in Life Public and Crow, Painters Thomas 1989). Press, MIT MA: Society Bourgeois of Category a into Inquiry An Sphere: Public the of Transformation Structural The Habermas, Jürgen 2011). Press, MIT MA: (Cambridge, Art for Space Alternative An Magazines: Artists’ Allen, Gwen 1of chapter see criticism, Salon early to ship relation in sphere public the of concept Habermas’s of discussion in-depth For a more However, if art criticism was born as a progressive and egalitarian egalitarian aprogressive and as born was criticism However, art if This can be witnessed in a magazine such as L’Artiste as (1831– such amagazine in witnessed be can This a ls, Publics, a Publics, ls, 24 Indeed, one of the most remarkable things about things remarkable onemost of the Indeed, , ed. Trevor Fawcett and Clive Phillpot (London: Art Book Book Art (London: Phillpot Clive and Fawcett Trevor , ed. , trans. Thomas Burger and Frederick Lawrence (Cambridge, (Cambridge, Lawrence Frederick and Burger Thomas , trans. nd Counter nd 23 In his classic account of the account of the classic his In 25 p ublics, 1837–1960 ublics, ------19th-century Paris, which published such critics as Charles Baudelaire and Honoré de Balzac. L’Artiste fostered a new, Romantic form of criticism, based on the doctrine of l’art pour l’art, and largely devoid of explicit social, political, or moral commentary. According to Nancy Allen Roth, L’Artiste cultivated an approach that was pluralist rather than polemical: it sought “to make the journal not so much coherent or persuasive as diverse, entertaining, and visually appealing”—a strategy that was especially well- suited to an emerging, market- based economy.27 The commercialized, pluralist model of the art magazine exemplified by L’Artiste has remained fundamental up to the present day. As the British critic John Walker has noted, “Art periodicals are commercial products First page of the “Letter to M. de Poiresson-Chamarande, . . . On the which are subject to economic Paintings Displayed at the Salon du Louvre, Paris, September 5, 1741.” criteria. They are vulnerable to Image courtesy of Bibliothèque nationale de France. competition, rising costs, falling circulations and changes in public tastes.”28 The development of the commercial art magazine corresponds to the larger historical transformation that Habermas observed in the press, “from a journalism of conviction to one of commerce.”29 He traces this shift to publications in France, England, and the United States in the 1830s, and argues that

27 Nancy Allen Roth, “L’Artiste and ‘L’Art pour L’Art’: The New Cultural Journalism in the July Monarchy,” Art Journal 48, no. 1 (Spring 1989): 39. 28 John Walker, “Periodicals since 1945,” in Fawcett and Phillpot, The Art Press, 45. 29 Jürgen Habermas, “The Public Sphere: An Encyclopedia Article (1964),” in The Idea of the Public Sphere: A Reader, ed. Jostein Gripsrud, Hallvard Moe, Anders Molander, and Graham Murdock (New York: Lexington Books, 2010), 118.

44 artmargins 5:3 and counterpublics around specific interests and ideas. This term, term, This and ideas. interests specific around counterpublics and of readers communities fostering group of individuals, self-selected) (or select smaller, to amuch themselves address question in cations publi practice—the in not always if at least, theory, public—in general a to reach aspired where criticism Salon Further, from them. excluded largely are that represent opinions and and ideas institutions its tion ques actively sphere, public sincethey bourgeois liberal of the model from Habermas’s depart also Yet, publicity. they critical and of dissent asite as of print potential radical the alive keep they that in criticism, to redress. it sought York New which of world the time, at the alism art parochi narrow-minded and shortsighted the to suggest so named was Man earlier, mentioned Duchamp’s Blind Toat large. example an take world and/or world art conditionsof the the dominant protest the that criticism and art of models andsupport to profit, by than rather tion aposi by motivated tend to be here, they generalized toaudiences be and goals editorial their in diverse too are publications such While photomontage. as such practices, visual and typographical radical pioneered and manifestos and writings artists’ circulated publications content, as such well as form in movements. Experimental avant-garde other , and Stijl De Constructivism, Futurism, Surrealism, Dadaism, with associated periodicals artists’ numerous the regard are this in 31 31 30 taking.” under of acommercial possibilities earning of the advantage take and positions able press] to abandon been [the “since polemical its has then gressive and critical publicity within the art world. art the within publicity critical and gressive of pro short-lived—sites and precarious often vital—if as have served which circulations), small for (so their named magazines little and journals, critical periodicals, artists’ of noncommercial history another industry. culture century 20th- the in he observed that “pseudopublicity” ersatz the into ity public critical sphere public from asite bourgeois of true liberal of the Press, 2012), 267–87. 2012), Press, Modernisms Global of Handbook Oxford The in World Form,” Magazine, “Little Bulson, Eric see magazine, little the of histories other and this of framework Western the to revision important For an aBibliography and A History Magazine: Little The F. Ulrich, Carolyn and Allen, Charles Hoffman, J. Frederick See Ibid. In some ways, such publications hark back to 18th-century Salon Salon to 18th-century back hark publications someIn such ways, However, running alongside this history of the art magazine is is magazine art of the history this alongside However, running 30 According to him, this change precipitated the disintegration disintegration the precipitated change this to him, According , ed. Mark Wollaeger and Matt Eatough (Oxford: Oxford University University Oxford (Oxford: Eatough Matt and Wollaeger Mark , ed. , 2nd ed. (Princeton: Princeton University Press, 1947). 1947). Press, University Princeton (Princeton: ed. , 2nd 31 Especially notable Especially ------Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 34 34 33 scene making will be transformative, not replicative merely.” not replicative transformative, be will scene making of poesis the that it hoped is which in spaces of are circulation publics “Counter it: world, but to change the in to act only of agency—not kind of aparticular possibility the implies also counterpublic notion of the conflictual relation to the dominant public.” the dominant to relation conflictual a through “constituted is apply may “counterpublic” group to any that term the that Warner, who Michael by argues described sense the more in counterpublics fostered they way, part most this for in the ity of counterpublic forms part—as or in implicitly least function—at that so forth. and orientation, gender, sexual race, ethnicity, on class, based against discriminated who have been counterpublics” spheres” “subaltern and public “proletarian including institutions, and definitions dominant from its excluded historically have been that publics those emphasize and universalism its question sphere public that bourgeois liberal of the theories revisionist several with “counterpublic,” associated is 32 32 of all— and—worst pseudo-philosophy, pseudo-psychology, history, pseudo- pseudo-exposition, pseudo-narrative, “pseudo-description, to amounted opinion his in prose, which purple its and of rigor lack United States) the for in its magazine art leading considered the (then News Art as such magazines art in published writing out the gling sin discredited, becoming was criticism art that Greenberg warned Its Bad Name,” Clement Earns Writing “How Art 1962 his In article, R as it has helped to shape those conditions. those to shape helped itas has conditions—even historical different under varied itself has that gory acate magazine, of the form distribution to the tied deeply are public its and politics, its criticism, of art function the suggests, periodical art of the history selective and brief admittedly this world. As art dominant the transform and to critique seek they of counterpublicity: forms as conceived be above might described publications alternative the sense, einvesting in the Art M Art the in einvesting Ibid., 122. Ibid., 118. 2002), Books, York: Zone (New Counterpublics and Publics Warner, Michael Social Text Social Democracy,” Existing Actually of Critique the to AContribution Sphere: Public the “Rethinking Fraser, Nancy 1993); and Press, Minnesota of University (Minneapolis: Oksiloff Assenka and Sphere Public Proletarian and Bourgeois the of Analysis an Toward Experience: and Sphere Public Kluge, Alexander and Negt Oskar See While we can certainly find many examples of artists’ magazines magazines artists’ of examples many find certainly we can While 32 , no. 25/26 56–80. , no. (1990): a g a in the 1960 the in Artforum zine: , trans. Peter Labanyi, Jamie Owen Daniel, Daniel, Owen Jamie Labanyi, Peter , trans. 33 According to him, the the to him, According 34 In this this In s - - - 45 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021

46 artmargins 5:3 criticism as a consumer product. aconsumer as criticism art and art packaged essentially News Art magazine, art century 19th- of the model commercialized pluralist, the with keeping In dios. stu of artists’ glimpses behind-the-scenes up-close, provided which series, aPicture” “Paints famous its as such stories, general-interest entertaining as well topics, as on more historical articles published also Painters.” It Action American “The Rosenberg’s 1952 famous article Coldby War, of the politics exemplified as cultural the within pose pur- ideological an served clearly that emphasis critical freedom—a existential and creativity individual like motives artistic and themes ing stress criticism, Romantic of 19th-century tradition belletristic the in Harold who John and followed Rosenberg, Ashbery, O’Hara, Frank as such critics, and poets published 1950s, the mainly in Expressionism 37 37 36 35 pseudo-poetry.” that time. that United States at (at the Greenberg’sin by least standards) criticism for serious periodical art of an lack the suggest facts These Nation. The magazine cultural and political progressive weekly the in lished Review Partisan magazine little literary and political Communist-affiliated 1930s of the the in criticism Marxist early his Greenberg published that It revealing defended. is rationally be could that of empiricism kind anew art of evaluating practice to the bringing by situation this in the magazine’s early years. early magazine’s the in on episodes key afew to focus Iwant full, in history that rehearse than told so rather elsewhere, been has of Artforum story The publication. asingle overlap within fact, in might, and all, after exclusive mutually so not be commerce and might of conviction functions the least—how at atime suggesting—for criticism, of art form acommitted foster also it would magazine, art acommercial was Artforum While cle. vehi its as to serve magazine art of the capacity the in criticism—and art in areinvestment representing criticism, formalist Greenbergian Artists’ Magazines Artists’ my see Also 2000). York: Press, SoHo (New 1962–1974 Artforum Art: Challenging Newman, Amy See 1960s. and 1950s late the Arts and News Art including magazines, art in published also occasionally Greenberg 71. 1962): (December Encounter Name,” Bad Its Earns Writing Art “How Greenberg, Clement Artforum , and throughout the 1940s 1950s pub and the he frequently most throughout , and 36 Art News Art , founded in 1962, would become the main venue for main become the 1962, would in , founded 35 Greenberg’s formalist method attempted to redress to redress attempted method Greenberg’s formalist , which had become associated with Abstract Abstract with become associated had , which , chapter 1. , chapter 37 previously, Imentioned As Artforum , no. 17 17 , no. - , in , in - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 at times antagonistic conversation, as these different points of view of view points different conversation, these as antagonistic at times and dynamic, engaging, an was result Greenberg. by The established framework modernist the challenged deeply that were making they work new who the defended artists, conceptual and minimalist by ings writ artist experimental to publish began Artforum time, this During magazine.) the in published occasionally also (Greenberg himself method. by Greenberg’s who wereinfluenced deeply formalist Fried, Michael and Krauss Rosalind including critics, group of modernist a with associated Leider, it became Philip editor founding 1960s, under mid- the world’s During art the wealth. center of and power, prestige, consolidate, helped and with, to York, New itself then where it aligned and Angeles, Los to moved magazine the five years, first its ever, within York-centered New How world dominant time. at the the art within of counterpublicity aform as origin unlikely its suggests that fact amouthpiece for as West Francisco art—a San in Coast founded was Artforum 5,no.10(Summer1967),cover. ©Artforum. - 47 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021

48 artmargins 5:3 the other essays of essays 1966–67.” other the and Objecthood’ ‘Art and in at stake was of Western civilization future the less than nothing that Ithought fact mattered—in doing I was what that sure “Iwas way.recalled, Fried have rememberedit As this that modernist criticism in some sense emulated or tried to re-create to re-create or tried some emulated in sense criticism modernist that 40 40 39 38 methodology. sionate apolitical and Artforum in lished pub criticism formalist modernist of the posturing ethical and moral denouncing. was Fried that of art type the precisely advanced they which in Smithson, Robert and Morris, Robert Sol by LeWitt, articles alongside theatrical, as latter the condemned and Minimalism against art modernist he passionately defended which in Fried’s essay Objecthood,” “Art and included 1967 which issue, Summer the is example striking cially from aforegoneoutcome far debates espe was of conclusion. these An the that and mattered, that over things were arguing writers that sense 1960s convey mid-late a from the of Old Artforum issues poraneity. contem its reinforcing time, at the magazines art American from other it distinguished that identity visual amodern logo magazine gave the Artforum unfolding. much very still was one that albeit project, acollective as together to come seemed criticism art American that of Artforum pages the years). these during Ruscha Ed artist the by designed was (which magazine of the pages the within confronted one another dream of art as the focus of an ideal public sphere.” public ideal of an focus the as of art dream earlier of an relic the was that commitment of moral 1960s asurplus the into brought criticism “Modernist or lost repressed: been quently subse had but that Enlightenment the in origins to its central been had that of criticism dimension political for the amarker as served it “compensatory,” as that criticism suggesting of such fervor moral Press, 1987), 7. 1987), Press, Culture Contemporary in Discussions Foundation Art Dia in Art,” of Function Public the On Viewer: the of Death and Birth Crow, “The Thomas anything.” itfor missed have Iwouldn’t me, to thrilling itremains thrilling, was That apoint. up to only but ironic, “I’m being added: Art Challenging Newman, in Newman, Amy by interview Fried, Michael 140–49. 2001): 8(March/April Review Left New Agonistes,” “Art Foster, Hal example, for See, A number of subsequent commentators have remarked on the on of the commentators subsequent haveA number remarked in it elsewhere, was published also artists and critics these While —a tone that was at odds with its otherwise dispas otherwise its with at odds was tone that —a ’s signature square shape and Helvetica-derived Helvetica-derived and shape square ’s signature 39 Thomas Crow has characterized the the characterized Crow has Thomas 38 Likewise, the critics themselves themselves critics the Likewise, , ed. Hal Foster (New York: New York: New (New Foster Hal , ed. 40 Crow suggests Crow suggests , 436. Fried Fried , 436. - - - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 pages in 1970. in pages 1962 in to forty-six pages from six increased which section, tisement mercialism, a shift that can be witnessed in Artforum in witnessed be can that ashift mercialism, com compromised growing its by increasingly was publicity critical the 1960s. the during escalated market art the as world itself art of the mercialization contingency. and historicity of own its “innocent” and prescriptive” critically “unself- to seem came disillusioned—explained, those Krauss—among as which method, about doubts Greenberg’s formalist experienced editors and writers own magazine’s of the anumber Meanwhile, gallery system. For example, if you didn’t review a particular artist’s artist’s aparticular you didn’t review if For example, system. gallery a large public. a large reach at least—to theory, potential—in the with magazine art mercial com amass-produced in published it was that fact very the was pose pur apublic with Artforum in published criticism art modernist the of what provided Part itself. magazine of the medium the distribution, of form very its through was argue, so, it Iwould ways did ofOne the century. 18th the in served had criticism that purpose public true the 45 44 43 42 41 but it’s depressing that it’s gotten so bad and close to the others.” to the close it’sso bad and gotten but that it’s depressing magazine art probably is best the shows. . Artforum the all review Krauss as Greenbergers such exist; hardly low. Irwin and . Bell equally all else, there’s then and everybody art high serious “There’s of 1969, complained Artforum in Judd, writing Donald artist The formulaic. to feel begun had artists and of critics roster andin ensconced New regular its point, that Yorkby firmly was publicity. asite as of critical to serve capacity renewed its and itself, magazine of the stakes moment from the were inseparable 1964–66 Art American Statements: Definitive in Market,” the Pop Goes Sixties: “The Wells, Jennifer see 1960s, the in States United the in market art the of explosion the of account For an issue. 1970 April the and issue 1962 June the on based Figures 50. 1972): (September Artforum “A Modernism,” of View Krauss, Rosalind 184. 1969): (April International I,” Studio “Complaints Judd, Donald Art Challenging Newman, in recollection Leider’s Philip on based is 2,000 of Artforum of issue November the in annually printed Circulation and Management Ownership, of Statement the to according 1968, in 13,770 to 2,000 from It grew growing. itwas years, those in huge wasn’t Artforum of circulation the While Just as significantly, however, the magazine’s function as a site of function magazine’s thehowever, Just significantly, as falter. Artforum would both in faith decade, Yet, end of the the by 45 , ed. Kermit Champa (Providence, RI: Brown University Press, 1986), 53, 59. 1986),53, Press, University Brown RI: (Providence, Champa Kermit , ed. As Krauss described, critics were held “hostage to the to the were held “hostage critics described, Krauss As 43 41 44 In this sense, the high stakes of art criticism at this at this criticism of art stakes high the sense, this In This change was part and parcel of the growing com growing of the parcel and part was change This ’s narrow editorial focus: focus: ’s editorial narrow ’s swelling adver ’s swelling . (The initial figure figure initial . (The , 24.) 42

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50 artmargins 5:3 48 48 47 50 50 49 exchange value.” exchange as consumption”produces and “art avoyeuristic it encourages “doesn’t participation, that creative encourage of criticism sentative repre as out Artforum singled Fox, The magazine artist-run the in writing Menard, Andrew Ron 1975, In and White tendencies. tional promo its amplifying greatly of art, evaluation role its the altered in magazine art economy commercial of the visual spectacular the within criticism of art integration The experienced. were being criticism art and art which within culture visual anew 1960s, creating the during Artforum with not begin did changes of November 1974 the in issue Benglis Lynda artist out the by ment taken during this time in the United States. the in time this during more broadly culture media and technology printing in to changes linked turn were in color which reproductions, increasingly and quality of high- abundance an and coated pages including character, visual to its linked deeply was magazine of the aspect promotional the gests, 46 46 market. art cial commer to the relationship magazine’s of the result adirect felt to be were that decisions she conceived—editorial that art on performance issue n’est aspecial shotFoucault’s down “Ceci also pipe” and une pas of Michel Michelson’s atranslation to publish refused proposal allegedly Coplans For example, were pioneering. Michelson, Annette including she others, and approaches that critical new ophy the and philos of continental influence to the hostile was Coplans that claimed has Krauss magazine. the with dissatisfied increasingly became 1960s the during championed had whom Leider critics of the many of took editor Artforum over as John Coplans 1970s, early after the In R pictures.” or many apicture, was there longas as wrote, what you didn’t care They advertising. its pull would show, gallery the defiantly wielding a large, double-headed dildo. The artist had wanted wanted had artist The dildo. large, double-headed a wielding defiantly einventing the C the einventing Artforum The Fox The Madness,” “Media White, Ron and Menard Andrew changes. these of account detailed amore for Magazines Artists’ my See Challenging Art Challenging Newman, in interview Krauss, Rosalind 53–68. Krauss,” Rosalind with “Interview Krauss, See Rutgers Art Review Art Rutgers Paley, Richard and Gilbert Gregory by Krauss,” Rosalind with “An Interview Krauss, Rosalind . 50 The ad was a two-page spread showing Benglis, nude and Benglis, spread showing a two-page ad was The 49 The “last straw” for several critics was an advertise an was critics for several straw” “last The 48 ritic , no. 11 (1990): 63–64. (1990): 11 , no. a l Art Journ l Art , they intensified considerably intensified , they 47 While it is true that these these that it true is While a l: O l: , 414. ctober , no. 2(1975):114. , no. 46 As she sug As , 1976– - - - , - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 mises critical effort.” critical mises and compro deflects which journalism of pictorial aform producing is reviews major of present art the format the that feel artists, and writers many those readers who,like “to address issue, first the in wrote they October journal to foundthe Rolfe resigned sense of that term.” of that sense debased most the in promotion role to of the journal’s devoted artists as the pictured has advertisement the which with “crudeness to the also from Artforum selves them disassociated publicly they which in editor to the aletter wrote Michelson, and Krauss including critics, several advertisement, to the response In content advertising. and editorial between breakdown very the underscoring opposite effect, ad the had of the appearance the tion, sec editorial magazine’s of the integrity the to preserve intended dently the gender politics of the art world time. at the art of the gender politics the as well as magazine art of the commercialism of the acritique as seen come what has to in be advertisement, took out apaid instead Benglis space, editorial the in image the to run however, refused when Coplans issue; about her work that in photograph to accompanythe article an 55 54 53 52 51 diminished public sphere of the American art world to the Stalinist world Stalinist to the art sphere public American of the diminished exemplary and unique.” and exemplary amanner were in joined innovation artistic and inquiry, theoretical practice, when revolutionary century momentcelebration our of in that in journal this “We have named declaring, to reclaim, sought editors journal’s the lineage formalism—a of Russian aesthetics radical the to tribute revolution,as a October the memorializing film 1926–27 October film, his with beginning from, suffered had Eisenstein aesthetics Artforum at experienced had critics she other repression and that market-driven reference to aveiled the it was explained, later Krauss As Stalin. under censored been had Eisenstein’s film that given connotation, Krauss, “Interview with Rosalind Krauss,” 63. Krauss,” Rosalind with “Interview Krauss, montage. of theory his on essays critical and writings own Eisenstein’s of translations publishing explore, to on go would October which ostranenie, of form a as montage of practice and theory Eisenstein’s of thinking Iam particular, In 3. Ibid., “About October Editors, 1974): 9. 4(December no. 13, Artforum editor, the to letter al., et Alloway Lawrence 73. 2004): 3(November no. 43, Artforum Contention,” of “Bone Meyer, Richard See Shortly after the incident, Krauss, Michelson, and Jeremy and Gilbert- Michelson, Krauss, incident, the after Shortly .” 55 : “We felt this was a replay of the kind of repressive, Stalinist of repressive, Stalinist kind areplay of the was : “We felt this Implicitly, then, October Implicitly, then, 52 53 , objecting not only to the vulgarity of the ad, but ad, of the vulgarity not to the only , objecting ,” October was named after Sergei Eisenstein’s after named was October 54 However, October , no. 1 (Spring 1976): 5. 1976): 1(Spring , no. ’s title ironically compared the compared the ’s ironically title , with which they wished, wished, they which , with ’s title carried a further afurther ’s carried title 51 Though Coplans evi Coplans Though - - - - 51 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021

52 artmargins 5:3 October, no.1(Spring1976),cover. ©OctoberMagazine,Ltd.,andtheMassachusettsInstituteofTechnology. were important, so too was its “apparatus,” its Benjamin’s was in so too sense were important, October However, contents of the if magazine. art of publicity, the vehicle main world its and art mainstream conditionsof to contest the the sought 1970s.and world 1960s of the art the in publicity asite as of critical magazine art commercial of the failures the Union, underscoring Soviet was thus conceived as a form of counterpublicity, which which conceived of counterpublicity, aform as thus was October Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 emphasis on extensive reviewing and lavish illustration.” lavish and reviewing onemphasis extensive by autonomy undermined seriously intellectual an arts, of other that to as sculpture, and of painting tocriticism restore need to the of the us convinced has journals major art with experience working “Long wrote, in its cover design—black text with red accents red with text cover its design—black in to Telhomage Quel paid October gowell. as on would to publish of whommany October Jacques and Foucault, Derrida— Michel Barthes, Roland Kristeva, Julia as such theorists of poststructuralist writing experimental the with associated (1960–82), Tel Quel journal French the was to emulate tried most they publication But the one as prototype. Review Partisan from being academic.” from being content the of to keep October we struggle although journal, academic an are technically we suppose “I irony she reflected, later this About duction and distribution. and duction of pro means its and of apublication, instruments” and “forms of the 58 58 57 56 61 60 59 to be an academic journal,” according to Krauss. according journal,” academic an to be October didn’t want to avoid: “We wanted what they know did to But create. they wanted they of magazine kind for of models the faced adearth of October Press. MIT by published been has Oppositions journal architectural esteemed the published also (which Urban Studies and for Architecture Institute the by published first was It institutions. nonprofiteducational and world in art of the pressures commercial from the refuge sought apparatus. own its form trans to and seeking upon reflecting quo without status protest the it not could effectively apiece of writing, or revolutionary how radical no matter that argued and transformation,” its and apparatus duction of apro mere supplying “the between distinction the made Benjamin aspect,” allowing only sparse, black-and-white images. black-and-white sparse, only allowing aspect,” Artforum like of amagazine excess visual the to contrast in and advertisements, no gallery it carried magazine: art commercial of the those vis-à-vis economic and structure format own “About October Ibid. 228. Producer,” “Author as Benjamin, Ibid. 62. Krauss,” Rosalind with “Interview Krauss, Ibid. In contemplating their goals for the journal, the founding editors editors founding the journal, for the goals their contemplating In ,” 5. 61 They considered the early, radical years of years early, considered the radical They 57 56 did so by carefully considering its its considering carefully so by did October In his article “The Author as Producer,” Author as “The article his In ), and since its fifth issue issue ), fifth sinceits and , it vowed to be “plain of , it “plain vowed to be 58 As the editors editors the As 59 October - 60 - -

53 allen | art periodicals and contemporary art worlds on a cream background—and its subtitle, Art/Theory/Criticism/Politics, was clearly a reference to Tel Quel’s subtitle, Littérature/Philosophie/ Science/Politique. October’s first issue included the translation of Foucault’s text “Ceci n’est pas une pipe,” which Artforum had refused to print, and focused heavily on those newer media, such as video, performance, and film, that had been underrepresented in the commercial art press. Especially notable during the first several years of the journal was its publication of texts by contemporary artists and practitioners, including Daniel Buren, Trisha Brown, Laurie Anderson, Hollis Framp- ton, Michael Snow, Samuel Beckett, Yvonne Rainer, Robert Morris, and Carl Andre. As the American art world grew more conservative toward the late 1970s and 1980s, with the rise of neo-Expressionism and right-wing attacks on public funding for the arts, October championed critical forms of postmodernism by publishing key texts by Craig Owens, Douglas Crimp, and Hal Foster. All of them would go on to become editors, as would the art historians Benjamin Buchloh and Yve-Alain Bois—both of whom had been involved in editing important little magazines (Interfunktionen and Macula, respectively) in their native countries, Germany and France. The history of October attests to the effectiveness of publications in not only incubating fledgling counterpublics, but enabling them to achieve legitimacy, even dominance within the public sphere. October’s introduction of European structuralist and poststructuralist theory into art history has had an immeasurable influence on the theory, history, and practice of art, both in the Anglo-American context and globally. And yet October (like Artforum before it) would achieve a kind of dominance, becoming Tel Quel, no. 50 (Summer 1972). Image courtesy of Éditions du Seuil. closely aligned with the power

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 Oedipal terms. Oedipal it—in to need challenge the authority—and unassailable seemingly journal’s one as the commentator killed,” must be put it, describing October of founding the precipitated ways many ad—in Artforum Benglis’s investigation—Lynda one such fact, In question. in period the during proliferated that space artists—phenomena by exhibition and medium a as magazine of the investigations as well as periodicals, artists’ and magazines little including practices, publishing of alternative history time demonstrate an unprecedented self-reflexivity toward the formal the formal toward self-reflexivity unprecedented an demonstrate time from this magazines artists’ elsewhere, detail in Ihave described As legacy. this transformed periodicals, artists’ of avant-garde tradition earlier on an drew they while which, publications, artists’ experimental of saw asurge 1970s 1960s and also content, The of mode and address. design, graphic format, its manipulating tactically by magazine of the role promotional and authority the challenged ways various in which others, and Steven Kaltenbach, Mel Bochner, Graham, Dan including artists, American by magazines art of commercial pages the into tions has been seen as elitist and Eurocentric. elitist as seen been has art American on and North European recently) focus nearly exclusive and (until Its tower ivory academia. status of American structure erase it. erase upon build progressive to attempts between to distinguish reasonother than for world—if no art the within counterpublicity a as ofform critical involved its genesis in stakes high and the history journal’s own the to remember However, crucial and Eurocentrism. it equally seems itself. ofmagazine the apparatus the of by distribution: its vehicle informed deeply its criticality—are of how criticism—and in politics the 64 63 62 must be contextualized within a larger alarger within contextualized be must October sense, this In 1988): 5–15. 1988): October on attack neoconservative right-wing, Kimball’s Roger of here specifically thinking I am 2014. 7–8, March Beirut, University, American Conference, Machines Critical discussion. panel Franses, Rico issue. this in Conference Machines Critical Es¸anu’s Octavian See the to decade. past the over introduction change to begun has This . Benglis’s ad came on the heels of a number of such interven of of such anumber heels on the ad. Benglis’s came 64 Among other things, things, other Among October (October (October Criterion New The Syndrome,” October “The Kimball, Roger . See 63 It is certainly important to question important It is certainly ’s legacy and reactionary ones to undermine and and ones’s to undermine and reactionary legacy October ’s history serves as aas lesson’s serves history 62 “ October is the father that that father is the October ’s authority

- 55 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 56 artmargins 5:3 Aspen, nos.5+6(Fall 1967),cover. TheGetty ResearchInstitute,LosAngeles(86-S1350no.5-6). Avalanche as such world. magazines For example, art the within function political economic, and social, its to alter attempts accompanied by distribution. and conditionsofto its circulation and it, of reading act to the attention drew and page printed of the ity Aspen Gorgona as such examples in seen be can as magazine, of the seriality and temporality, materiality, the 65 potential. political and social, artistic, its toward as well as magazine, of the possibilities conventions conceptual and These magazines contested the institutions and economies of the economies of and the institutions contested the magazines These ( practices art feminist Yet supported others rights. legal and moral promoted artists’ Newsletter Workers Art as such magazines, Other world time. at the art mainstream the within were marginalized that or international, local whether communities, artistic alternative fostered and system gallery commercial outside the forms art mental Artists’ Magazines. Artists’ Allen, These radical experiments with the form of the magazine were magazine of the form the with experiments radical These , which in various ways foregrounded the tactility and interactiv and tactility the foregrounded ways various in , which , Art-Rite Heresies , FILE , Lip supported new experi new supported Interfunktionen , and ) and postcolonial theory ( theory postcolonial ) and Revue Integration , Revue , Intermedia 65 Artists investigated investigated Artists Black Phoenix Black , Zero The Fox The , and 0 to 9 , 0to , and , and ). , - - Spread from Avalanche no. 1 (Fall 1970). Bykert Gallery “Stop the War” advertisement (left) and table of contents (right). Image courtesy of Liza Béar and Pamela Seymour Smith Sharp for the estate of Willoughby Sharp.

FILE 1, no. 1 (April 15, 1972), cover. Photograph by David Hlynsky. Image courtesy of AA Bronson and David Hlynsky.

58 artmargins 5:3 cism) as idealized moments when art criticism and its public somehow public its and criticism moments when art idealized as cism) criti Salon to 18th-century looked back Habermas that way the much in (perhaps October and of Artforum histories to the look back cally authority, we nostalgi current their question weEven sometimes as the conditions of art and art magazines in the 1970s art world. 1970s art the in magazines art and conditionsof art the transform and today, out of to challenge ciated adesire but stemmed it asso is which with institutions academic the in not begin did which of October relevance and urgency initial the stresses and shared they context political and social the reveals continuum tone of Art-Rite colloquial casual, jokes inside of away FILE from the or the miles seem may character October While project. original its helps to contextualize 66 66 communication. site ofcant artistic signifi another correspondence, was private in rooted art, 1980s, mail 1960s to the region from the the across swept repressive dictatorships of where aseries America, Latin in and there Likewise, samizdat. of practices underground dissident, the resonated with magazines ists’ censorship, and art supervision of state levels to varying were subject where Europe, artists Eastern former of the countries the in example, For conditions. political and social different world to vastly response in of the parts other in engineered being were simultaneously practices publishing distinct yet related Western Europe, and America North magazines. mainstream détourning and appropriating and/or pages, tactically by newsprint and formats DIY their through media economy of mainstream visual spectacular the challenged They interviews. and criticism, of writing, pioneered forms new They galleries. sponsor to commercial than rather spaces nonprofitartists’ support and statements political to broadcast pages advertising used They distribution. and circulation, conditionsof its production, as well as design, graphic and format printed magazine—its of the apparatus very the contents, but transforming by their so not merelydid through they Significantly, criticism. art and of conditionsfor set art alternative an spheres, forging counterpublic vital as world functioned and art 1, nos. 2–3 (June–October 2012). (June–October 2–3 nos. 1, ArtMargins Europe,” Eastern and America Latin in Networks “Artists’ section special the See alongside these artists’ publishing practices practices publishing artists’ these alongside October Situating If many of these examples were operating within the art worlds of art the within were operating examples of these many If * , seeing these magazines as part of a part as magazines these , seeing * 66 * ’s own project, ’s project, own ’s scholarly - - - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 ture industry. ture cul and market agrowing by sidelined was criticism serious which in vacuum” a“discursive lamented collectively contributors, and of editors generations multiple including participants, The present future. and the journal’s upon reflecting while considered legacy and its history own its it surveyed which aroundtable in staged October 2002, in those of Avalanche those October and of Artforum counterpublics and publics the and prejudices, confines Euro-American former beyond its histories and cultures, audiences, world’s art the artists, works have expanded net travel and communication as and globe, the across proliferated have biennials obsolete. As becoming it itself is emerged which in world art the that fact to the due, part, is in this outmoded, appears today. October If criticism of art situation the characterizes that publics— of potential multiplication exponential of it—an expansion an as public it aloss notof is perhaps the so much Indeed, diagnose. of acoherentcritics “lack these public” to the key surely are gies, technolo communication new of related those with along effects, its are revealed to have been but minuscule fragments of this larger arena. arena. larger of this fragments but minuscule to have been revealed are of 1981 2001.” versus October about the thing somehow. counted same one say the Or could writing your that and of 1970 for where whom you knew you were writing Artforum not the of is 2001 Artforum The don’t for anymore whom know you writing. are You defining. indeed crucial, coherent to public whom one speaks—is of a lack or the of constituency lack about—the talking we have been that issue the that today. Ithink place for in writers situation different “ James Meyer observed: critic and historian art the icism, mattered more than they do today they more than mattered 70 70 69 68 67 and the sense that its project, at least as originally conceived, past. is originally at as least project, its that sense the and publication’s the both venerable status suggesting archeological,” even “ that since1990, claimed October Hal Foster, “Round Table,” 227. “Round Foster, Hal Table,” 222. “Round Meyer, James 202–28. 2002): (Spring 100 October Criticism,” Art of Conditions Present Table: The “Round Krauss, Rosalind 85–93. 1996), Press, Yale University CT: Haven, (New Culture Common Artforum of Anniversary Thirtieth the On Values: Incommensurate of Age the in Criticism “Art as reprinted 1993): 186–88; (September 1 no. 32, Artforum Criticism,” of Graying Crow, “The Thomas example, for See, While globalization is barely mentioned in the 2002 roundtable, 2002 the in mentioned barely is globalization While 68 Elaborating on the challenges facing contemporary crit contemporary facing challenges on the Elaborating , Interfunktionen . has become more historical, become more has historical, October 67 , Heresies On the occasion of its 100th issue, issue, of 100th its occasion the On Modern Art in the the in Art Crow, Modern ,” Thomas in , and other publications, publications, other , and 69 Hal Foster, at editor Hal an , as well as as well , as There is a is There , no. , no. - - 70 - - 59 allen | art periodicals and contemporary art worlds Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021

60 artmargins 5:3 investment and with luxury and tourist economies. tourist and luxury with and investment of capital kinds other with of art integration the underscoring services, financial and liquor, fashion, airlines, hotels, but for high-end leries not for ads only gal includes now regularly which section, advertising of Artforum character international increasingly the in witnessed be can expansion global above its attests), discussed of Artforum history world. art contemporary of the system global the within ized instrumental are sites of publicity such problemway the is Rather, globalization. of politics and the processes analyze to self-reflexively seek that writings progressive, trenchant publishing mission, editorial of its part on globalization commentary critical made has for example, Artforum magazines. content not due is only to the of art This archies. world’s hier art global economic geopolitical and not it reinforces—the more than often challenge—and not necessarily does artists and art marginalized and underrepresented of coverage previously increased São and Paulo. Yet Dubai, this Beijing, as such 1990s to cities the since increasingly and Cologne, and Paris, London, as to places such first section, reviews its expanded has and biennials and exhibitions of coverage its international increased ItStates. sincesteadily has United outside audiences the and to art commitment anew signaling 72 72 71 alike. sphere public publications and of the models new demand which worlds contexts, and manifold to way multiple, have given world 1970s 1960s and of the art of the boundaries circumscribed The ally, and the ease with which its cultural capital may be exchanged with with exchanged be may capital cultural its which with ease ally, the and glob circulates art which with speed compoundedthe have only media social and platforms Online market. the with of criticism merging total the near- to attesting fairs, art of high-profile anumber and magazine art an both sponsors corporation Frieze London-based the example, 181–87. World, Art Your Everyday Relyea, see 1980s, the since how of For a discussion 7–30. (2007): 24 &Society Culture World,” Theory, aPost-Westphalian in Opinion Public of Efficacy and Legitimacy the On Sphere: Public the “Transnationalizing Fraser, Nancy see relied, have counterpublicity of models revisionist various and model Habermas’s both which upon assumptions Westphalian the of acritique for Also, 159–73. 2: no. 1, Sphere Public &the Art Armenia,” in Affirmation of Aesthetics Group’s ACT Political the and State Constitutional The Sphere: Public the “Rethinking Harutyunyan, Angela and Thread Red Biennial,” Art Sharjah Tenth the in Liberalism of Traps Politics: Cultural Becomes Matter “When Harutyunyan, Angela see models, alternative for need the and world art contemporary the in sphere lic pub of the notion bourgeois liberal of the inadequacy of the discussions excellent For two While the promotional aspect of art magazines is not new (as the not is (as new the magazines of art aspect promotional the While 1982, in International to Artforum name its changed Artforum Artforum ’s advertising section and editorial content have changed changed have content editorial and section ’s advertising , no. 3 (2011), www.red-thread.org/en/article.asp?a=48; www.red-thread.org/en/article.asp?a=48; 3(2011), , no. 72 To another take 71 ’s - , - - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00157 by guest on 28 September 2021 world, and within it, but also beyond it. but also it, world, within and art to the relationship in operate worlds—which own publics—their and criteria, languages, own their creating are publications ones. These old transform and of publishing inventmodels new they as potential, upon this seizing are periodicals art today, critical and independent their pos their to attention draws it also criticality, and sites as of critique periodicals of some failures of the Ihave told here highlights story the While publicity. critical and of participatory forms as of communication world’sart the sites and reclaim these processes upon reflect and resist, to challenge, opportunities provide also publications these capital, into labor intellectual and conversion of artistic ference, ruthless its and and/or of dif space, erasure and its exploitation of collapse time nizing globalization’s homoge facilitate and in participate media online and magazines world(s). work today’s and art art in While we write which under the conditions understand better and upon to reflect but rather peer reviewers for their feedback and constructive comments. constructive and feedback their for reviewers peer art is validated in the marketplace.” the in validated is art waythe on of influence amount enormous an disposition—has leftist of editor October [an Buchloh Benjamin world. Someone the like moves through art way the and market the role abig plays in criticism “Trickle-down observed, has Bankowsky Editor-at-Large Jack Artforum As publications. for both write critics to Artforum reaction in born was autonomy October If nofrom it. longerclaim can market, from the harbors were safe once as seen which journals, art critical other kinds of economic and political currencies. of economic political and kinds other 74 73 e t o n as the the as well as Rapp, M. Karen thanks author The www.artmargins.com. Online: ARTMargins at published Context” aGlobal in Publicity II): (Part Worlds Critical Art Contemporary and Norton, 2008), 176. 2008), Norton, York: W. (New W. World Art the in Days Seven Thornton, Sarah in quoted Bankowsky, Jack offentlichkeit-und-erfahrung/. https://www.textezurkunst.de/61/ 2015, 9, August accessed 2006), (March 61 Kunst zur Texte Blogs,” Art-and-Gossip of Booming the On Experience: and Sphere “Public Conrads, Martin see Also 295–301. 2013): (Summer Artforum Transmission,” Daily Art Contemporary publication online the of adiscussion for Also, 2013). Press, MIT MA: (Cambridge, Art After Joselit, David See It is not my intention to condemn these critics or these magazines, magazines, or these It critics not is my to condemn these intention ARTMargins

I further explore the critical potential of art publications today in “Art Periodicals Periodicals “Art in today publications art of potential critical the explore I further sibilities—even if unfulfilled or co-opted. Around the worldAround or co-opted. unfulfilled if sibilities—even editors (especially Angela Harutyunyan and Octavian Octavian and Harutyunyan Angela (especially editors ’s commercialism, today many of the same same of the many today ’s commercialism, 74 , see Michael Sanchez, “2011: Art and and Art “2011: Sanchez, Michael , see ]—counterintuitively given his his given ]—counterintuitively 73 Meanwhile, even even Meanwhile, Es¸anu ) and ) and - - 61 allen | art periodicals and contemporary art worlds