What Is and What Was the "Art World?" A Year in the Art World Is Now Available in Paperback
This week I’m taking a break from my usual recommending of content to share some exciting news about my own:
The paperback version of A Year in the Art World (with a new preface) is now available in the UK. (Because the publisher, Thames & Hudson, is UK-based, it will first be available in the UK and then in the US.)
A Year in the Art World was first published in a less-than-desirable environment: in September 2020, in the middle of the COVID-19 pandemic. Granted, we all had much more pressing things to worry about, but at that time, physical bookstores were closed; there were no live talks or events—hence no book tours; and pretty much the entire art world I was writing about was essentially shut down. I had acknowledged in the book that it would inevitably be a time capsule, yet the situation in 2020 made me feel that my project was woefully outdated even before it was published. So it was not, to say the least, a great time to publish the book…
Yet over the last year, I’ve been shocked to see the art world assume (for better and for worse) a lot of the shape it was in when I was writing about it. The discussions in the book—about the past, present, and future state of so many aspects of the contemporary art ecosystem—suddenly seem relevant again, and its learnings valuable. So I now feel confident sharing it again, ironically even more so than when it was first published. And I’m also especially excited to re-share it in an environment where people can actually see the book in real life.
Yes, a lot has happened since the publication of the hardcover (in addition to, and as a result of the pandemic). The book didn’t get to discuss Online Viewing Rooms (OVRs) or NFTs or the marked increase in attention to diversity, equity, and inclusion in many aspects of the art world catalyzed by the murder of George Floyd in May 2020 and the Black Lives Matter movement. It also doesn’t discuss climate activists targeting famous artworks, the rise of VR or the metaverse or AI, or new art and technology projects, such as those promoting fractional ownership of art. A host of people discussed in the book also have altogether new jobs.
Yet A Year in the Art World still remains, two and a half years later, what it initially set out to be: an accessible overview of the contemporary art world. It introduces a diverse array of the people and institutions in the world of contemporary art. And the artists, curators, critics, and gallerists discussed in the book remain some of the art world’s best-known. The book provides valuable insight into the art world for anyone contemplating working in the industry, and it exposes some quite niche art activities, such as fabrication, conservation, and storage, for the general reader. It contains unique insights and entertaining stories from various art-world leaders, and shares rarely discussed information, such as how museum curators and biennial directors are chosen, how a gallery leader would suggest running a gallery, or how curators interpret their profession and deal with criticism when putting on large-scale shows. It spends time discussing the value of art criticism and how crucial access to information is to the business of art advising.
I remain so thankful for the time and attention of all the people I interviewed for the book and I would like to acknowledge them here again. They are (in order of their appearance): Taryn Simon, Chris Grant, Ted Lawson, Adam Sheffer, Klaus Biesenbach, Hans Ulrich Obrist, Jeff Koons, Stephen Koch, Jarrett Earnest, Massimiliano Gioni, Omar Kholeif, Koyo Kouoh, Ralph Rugoff, Rujeko Hockley, Jane Panetta, Steven Madoff, Seth Cameron, Irene Due, Isabella Herig, Marta Gnyp, Mary Zlot, Sabina Buell, Sara Friedlander, Christian Scheidemann, Michele Marincola, Christine Frohnert, Simon Hornby, and Steve Novenstein. Behind all of these people are the various important institutions and individuals who helped support their involvement, and I want to acknowledge them again too. They are, as follows (again, in order of appearance): Sara Douglas at Taryn Simon studio, Standard Sculpture, Prototype, Leah Glimcher at Pace Gallery, Sarah Lloyd Stifler at the Museum of Contemporary Art Los Angeles, Susan Cernek at David Zwirner, Paul Jackson at the New Museum, Bruce High Quality Foundation University, Artsy, Acute Art, Rebecca Riegelhaupt at Christie’s, Milena Sales at Crozier, and Anne Maso at Uovo.
I hope you will consider exploring this new version of A Year in the Art World or recommending it to someone you think might be interested. While you can find the book at bookstores across the UK and the US, here are some suggested links:
Blackwell’s (UK)
Bookshop (UK)
Hatchard’s (UK)
Waterstones (UK)
Foyles (UK)
Amazon (US/UK)
Bookshop (US)
Community Bookstore (US)
Books Are Magic (US)
Barnes & Noble (US)
Thanks, as always, for your continued interest in this newsletter, and see you in a few weeks.
Best,
Matthew