Discourse within the art world is too often dominated by brokers, who cater to buyers with scads of cash, and doublespeaking critics, who must work within philosophical systems to justify the artists' work as well as their own careers. But World Art magazine, now available in the US, attempts to redress this. Its sophisticated but genial point of view is pertinent to mainstream audiences. Although its trim, square cover resembles that of another prominent art magazine, World Art succeeds on levels of readability and practicality where other publications simply baffle.
Art critics and theorists like Jean Baudrillard and the late Clement Greenberg can be wily when left to their own devices, but they come off as much more credible in World Art's straightforward interviews. By asking frank questions and forgoing impenetrable artspeak, the magazine's articles end up both intelligent and accessible.
World Art's editorial mission to critique the forces of the international art scene is borne out in investigative and somewhat political articles. Their "Murder, Money and Masterpieces" exposé on the Mafia's dealings in art is a piece of detective-style journalism that is alien to cultural publications; I hope to see more like it (though I must admit it lacked the truly seedy punch I'd hoped for).
Like other art mags, World Art is on the hunt for the Next Big Artist, but it also features stories on largely disregarded areas such as Cuba and Ukraine. And, most happily, World Art treats the marginalized areas of comic-book and digital art with the deference they deserve.
With this magazine, a gracious amount of aesthetic pleasure is reinfused into a realm rendered dreary by the pundits and polemicists. Its outlook is optimistic and presentation keen; World Art appeals to a disenchanted population that has long been told that art is not for it.
World Art magazine: US$7. Gordon and Breach Publishing Group: (800) 545 8398, +1 (201) 643 7500 ext. 228, fax +1 (201) 643 7676.
STREET CRED
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