Azito <\/a><\/strong> Dia Beacon, NY<\/strong>\u00a0<\/a> Guggenheim Museums<\/strong> Institute of Contemporary Art, Boston<\/a><\/p>\n Museum of Contemporary Art, Australia<\/a><\/p>\n Museum of Contemporary Art, Chicago<\/a><\/p>\n Museum of Contemporary Art, Los Angeles<\/a><\/p>\n MOMA Magazine<\/a><\/p>\n Museum of Modern Art NYC (MoMA)<\/a><\/p>\n Massachusetts Contemporary Art Museum ( MASS MoCA)<\/a> San Francisco Museum of Modern Art<\/a><\/a><\/p>\n Stedelijk Museum<\/a><\/p>\n Whitney Museum of American Art<\/a><\/p>\n ArtForum<\/strong><\/a> Art in America<\/strong><\/a> Art Journal<\/a><\/strong> ARTMargins<\/strong><\/a> ARTnews<\/strong><\/a> ASAP<\/strong><\/a> ASAP\/J<\/a><\/strong> The Brooklyn Rail<\/strong><\/a> Frieze <\/a><\/strong> Hyperallergic<\/strong> <\/a> October<\/a>
\nOnline gallery of Japanese contemporary art<\/span><\/p>\n
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\nDia Art Foundation is committed to advancing, realizing, and preserving the vision of artists. Dia fulfills its mission by commissioning single artist projects, organizing exhibitions, realizing site-specific installations, and collecting in-depth the work of a focused group of artists of the 1960s and 1970s.<\/p>\n
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\nBilbao<\/a>\u00a0 New York<\/a><\/p>\n
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\nJournals<\/h2>\n
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\nis the magazine of record for the contemporary art world and holds the unique roles of institution and foremost tastemaker of the industry. Established in 1962, it is often the first to identify artists whose work comes to define eras, delivering the highest level of critical discourse to an international audience. Artforum<\/em>\u2019s artists\u2019 projects, reviews, and critical essays on contemporary visual culture including coverage of film, music, architecture, performance, and media provide rigorous, diverse, and provocative perspectives on cultural trends of our time.<\/p>\n
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\nSince 1913,<\/span>\u00a0<\/span><\/span>Art in America<\/span><\/span><\/em>\u00a0<\/span>has published groundbreaking critical insights about contemporary art and culture. Each quarterly issue features exhibition reviews, <\/span>a collectible artist print, <\/span>interviews with leading artists, and in-depth essays by <\/span>individuals<\/span> at the forefront of their fields. <\/span>Between its flagship print edition and growing digital presence,<\/span> <\/span>Art in America<\/span><\/span><\/em>\u00a0<\/span>today reaches both influential art world insiders and a broad audience invested in understanding pivotal cultural trends.<\/span><\/span>\u00a0<\/span><\/p>\n
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\nThe mission of Art Journal<\/i>, founded in 1941, is to provide a forum for scholarship and visual exploration in the visual arts; to be a unique voice in the field as a peer-reviewed, professionally mediated forum for the arts; to operate in the spaces between commercial publishing, academic presses, and artist presses; to be pedagogically useful by making links between theoretical issues and their use in teaching at the college and university levels; to explore relationships among diverse forms of art practice and production, as well as among art making, art history, visual studies, theory, and criticism; to give voice and publication opportunity to artists, art historians, and other writers in the arts; to be responsive to issues of the moment in the arts, both nationally and globally; to focus on topics related to twentieth- and twenty-first-century concerns; to promote dialogue and debate. The journal, which welcomes submissions from authors and artists worldwide and at every career stage, is published four times a year in spring, summer, autumn, and winter by the CAA.<\/p>\n
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\nis a publication with an online outlet (ARTMargins Online) and a print outlet (ARTMargins Print). Both have distinct content but share an interest in publishing research, criticism, and artistic projects that advance our understandings of post-socialism, postmodernism, and postcolonialism, within the framework of a global art history. ARTMargins explores the shifting geo-political, aesthetic, and economic configurations that shape the art production in the margins, attending to narratives and territories that have been excluded from contemporary art history.<\/p>\n
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\nSince 1902, ARTnews<\/em><\/span><\/span> has been the most trusted source for news of the global art <\/span><\/span>world and the art market. It is\u00a0a digital-first\u00a0publication that delivers up-to-the\u00a0<\/span><\/span>minute developments across its website and newsletters. Our one print issue is\u00a0<\/span><\/span>the annual Top 200 Collectors issue which, since 1990, has been the definitive\u00a0<\/span><\/span>source on the world\u2019s most active and important art collectors. \u00a0<\/span><\/span>\u200b<\/span>The publication\u2019s thousands of contributors have included Alfred Barr, Bernard Berenson, Kenneth Clark, Robert Coles, Arthur Danto, Carlos Fuentes, Pete Hamill, Aldous Huxley, Steve Martin, Louise Nevelson, Bob Nickas, Francine Prose, Harold Rosenberg, David Salle, Jean-Paul Sartre, and William Carlos Williams.<\/p>\n
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\nThe Association for the Study of the Arts of the Present is an international, nonprofit association dedicated to discovering and articulating the aesthetic, cultural, ethical, and political identities of the contemporary arts.<\/p>\n
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\nis one of the scholarly publications of the Association for the Study of the Arts of the Present<\/a>, along with the print publication\u00a0ASAP\/Journal<\/em><\/a>.\u00a0Like the association and print journal it serves,\u00a0ASAP\/J<\/em>\u00a0explores new developments in a variety of post-1960 arts, including writing, plastic and visual arts, digital arts, music and sound art, performance, architecture and design, mixed media and intermedia arts, and so on.\u00a0ASAP\/J\u00a0<\/em>provides a forum for dialogue among and between scholars and practitioners of the contemporary, and it seeks to advance our collective knowledge of our own elusive contemporaneity.<\/p>\n
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\nFounded in October 2000 and currently published 10 times annually, the Brooklyn Rail<\/em> provides an independent forum for arts, culture, and politics throughout New York City and far beyond. Our journal, in addition to featuring local reporting; criticism of music, dance, film, and theater; and original fiction and poetry, covers contemporary visual art in particular depth. In order to democratize our art coverage, our Critics Page functions with a rotating editorship, which such luminaries as Robert Storr, Elizabeth Baker, Barbara Rose, Irving Sandler, and Dore Ashton have helmed. The Rail<\/em>\u00a0further fulfills its mission by\u00a0curating art exhibitions, panel discussions, reading series and film screenings\u00a0that reflect the complexity and inventiveness of the city\u2019s artistic and cultural landscape.<\/p>\n
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\nis the world\u2019s leading platform for modern and contemporary art, dedicated to artists, galleries, collectors and art lovers alike. Frieze comprises three publications, frieze<\/em> magazine, Frieze Masters Magazine<\/em> and Frieze Week<\/em>; four international art fairs, Frieze London, Frieze LA, Frieze New York, Frieze Seoul and Frieze Masters; No.9 Cork Street, a permanent gallery space in the heart of London; regular talks and summits, led by frieze<\/em> editors;\u00a0and frieze.com – the definitive resource for contemporary art and culture. Frieze is part of the IMG network.<\/p>\n
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\nis a leading voice in contemporary perspectives on art, culture, and more. The online publication was founded by the husband-and-husband team, Veken Gueyikian and Hrag Vartanian, in 2009 as a forum for playful, serious, and radical perspectives on art in society. With over one million visitors monthly, Hyperallergic combines round-the-clock art world news coverage with insightful commentaryChallenging the art world status quo, Hyperallergic goes beyond the surface to investigate the inner workings of art institutions and markets, shedding light on the movements and individuals fighting for greater inclusion and representation. With hundreds of global contributors, Hyperallergic is a constant source for the latest in film, visual art, books, and performances around the world.<\/p>\n
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\n<\/strong>At the forefront of art criticism and theory, October<\/em> focuses critical attention on the contemporary arts\u2014film, painting, music, media, photography, performance, sculpture, and literature\u2014and their various contexts of interpretation. Examining relationships between the arts and their critical and social contexts, October<\/em> addresses a broad range of readers. Original, innovative, and provocative, each issue presents the best, most current texts by and about today\u2019s artistic, intellectual, and critical vanguard.<\/p>\n
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