Media kit 2020 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; 37% across the rest of Each issue looks forward to what’s happening in the coming 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 creative industries; and to students via university and college libraries. What you don’t see in William Blake’s 1802 Left: Zanele Muholi, self-portrait is equally as important as what you Bhekezakhe, Parktown, do. No brushes, easel, pencil, engraving tools, Johannesburg, 2016; facing Morehshin page: William Blake, Portrait books or quills are visible to identify his trade, of William Blake, 1802 as was often the case in artists’ self-portraits in Allahyari © COLLECTION ROBERT N ESSICK © COLLECTION ROBERT Opinion previous centuries. Instead, the artist – in his only known self-portrait, an intensely detailed What does ‘digital pencil drawing – faces himself, from the shoulders up, mouth slightly pursed, his thinning hair tousled. What remains in the memory of the colonialism’ mean viewer is Blake’s direct and penetrating stare, recalling his question in his poem ‘The Tyger’: to you, and how ‘In what distant deeps or skies/Burnt the fire of thine eyes?’ It’s apposite, of course, that Blake, do you respond to that great visionary writer and artist, political radical and prophet of revolution, should home How can we save space it with your work? in on his own eyes as the bearer of identity, as the very tools of his trade. Seeing, for Blake, was deeply interwoven with political engagement. in our cities for artists? What you choose to see – and, by implication, where your attention rests – says everything about the sort of world you choose to inhabit. A block of housing being built in east London will In most self-portraits, the eyes of the artist do double duty: first, observing themselves; not only benefit artists and the local community, second, observing the observer. While the but also provide a template for challenging the Blake self-portrait is first and foremost an act of self-scrutiny (you’d need to look that hard to market pressures that are pushing artists and capture those wisps of hair so precisely), it’s a low-income workers out of our cities. Director of public one too, one half of a dialogue in which Morehshin Allahyari is an artist, activist, can’t replace what was lost – what’s lost is they’re the ones that ought to have them. the viewer is invited to participate. In this way, Create London, Hadrian Garrard, explains how writer and educator. Born and raised in lost. My work is more a political gesture. The idea of digital colonialism self-portraiture sits at the junction between the Iran, she moved to the US in 2007. Her Inside each artefact, I embedded focuses specifically on how a lot of tech public and the private self. Gazing at one’s face in work deals with contemporary political, memory cards which contain all my companies based in Western countries the mirror in order to observe the wrinkles, folds Art can bring people together, galvanise bring such buildings back into public social and cultural issues. For her project research – PDF files, images, my email – Google Arts & Culture, CyArk, and more and lumps you see there is a performance of one local communities and be a catalyst for use, and in collaboration with their local Material Speculation: ISIS (2015-16), correspondence with scholars and – are using technologies such as 3-D of the most central philosophical conundrums of change. But not always: an unsettling communities. We still need to dig deeper, Allahyari used 3-D printing to recreate historians etc. I spent days and nights scanners and printers as ways of ‘saving’ all: what is – where is – the self? All self-portraiture irony is that, despite east London having however, if we are to find ways for artists 12 artefacts destroyed by Isis. Inside each, with the images of the artefacts and cultural heritage. When you look into this the highest concentration of artists in to be fully integrated into our cities. she embedded a flash drive containing confusing information that sometimes practice in more depth, however, you see Europe, studies show that you are less We have been talking to artists about her research. Her reconstruction of didn’t match up between an Arabic text that it’s actually just another version of likely to walk into an art gallery if you live London housing for many years. The Unknown King of Hatra is currently on and an English translation. Some nights the historical colonialism that we’re in parts of that area than anywhere else. incremental loss of studio buildings show in the exhibition ‘What Remains’ I had strange dreams with Ebu or King already familiar with from walking into, When I founded the arts organisation is bad enough, but with housing costs at IWM London, part of the museum’s Uthal in them. I felt connected to each of for example, the British Museum, where The power Create London in 2009 we were looking pushing artists around and out of the ‘Culture Under Attack’ season. the objects. I spent days 3-D modelling there are all these treasures from Middle for answers to this east London city, our attempts at making better A House for Artists, discounted rent and lifetime tenancies them with a team of students; days and Eastern, East Asian, South Asian and disconnection question through connections between artists and local Barking and Dagenham, in exchange for running a free daily I started working on Material Speculation: nights 3-D printing them, bathing them, African countries, a lot of which were ambitious projects outside galleries – communities start to seem a bit rendering of view from public programme in the community hall. ISIS in 2015 after the video of Isis’ cleaning them, shining them. I love them. basically stolen as part of the practice of Linton Road what better way to connect with local redundant. Complicating this further We’re happy to be working on the project destruction of the artefacts at Mosul I love them in a way that I haven’t loved colonialism and imperialism. When you audiences, right? Folly for a Flyover (2011), was the reaction to artist residents being with artist Grayson Perry, who is using Museum went viral. For the past decade, any other works of art I have created. think about the digital ownership of the of the a disused motorway undercroft that was kicked out of Hackney Wick after the 2012 his knowledge and experience to help I’ve been working at the intersection of They are part of my culture, my people, same material, people don’t really see it transformed into an outdoor waterside London Olympics, which put the final us think about building a community, art and activism. A lot of my work has my history. And I want to protect them. clearly. What’s happening is that a lot cinema, café and performance space by nail in the affordability coffin. Evictions as well as making a public work for the involved thinking about archiving as When I say ‘them’ here, think beyond of these companies and institutions are future [2015] Turner Prize winners were met with a quiet shrug by local project [supported by Art Fund]. Above right: portrait an art practice. I saw this video at a time this one project. Think about them as a 3-D scanning cultural sites and artefacts Assemble, was an early hit. In 2012, a year residents living in social housing who So, in exchange for a good, relatively of Morehshin Allahyari, when I was also doing a lot of work with whole series of other historical sites and and taking ownership of the digital data. after the 2011 London riots, we worked didn’t feel connected to this hermetic cheap place to live, this new community 2018; below: Morehshin Allahyari, Unknown King 3-D printing. It therefore made sense to artefacts in the Middle East.