Founded in 1902, ARTnews is the oldest and most widely circulated art magazine in the world. Its readership of 180,000 in 124 countries includes collectors, dealers, historians, artists, museum directors, curators, connoisseurs, and enthusiasts. Published in print six times a year, it reports on the art, people, issues, trends, and events shaping the international art world. The magazine’s 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.
About Art in America
About our Team
Adeline Cippoletti-Saez, aka Addie, is production manager for Art in America, ARTnews, and The Robb Report. A graduate of Long Island University, Brooklyn Campus, with a BA in journalism who hoped to become a sportswriter, along the way she discovered print production. That line of work drew on Adeline’s ability to coalesce different perspectives—editorial, sales, and finance—as a leader, encouraging diverse team members. She has held various production roles, including a 22-year stint at the weekly magazines Adweek and Brandweek; she was instrumental in launching another weekly, Mediaweek. Under new management Adeline was key in relaunching Editor & Publisher magazine. As print production director and managing editor of Vibe magazine, she learned the difference between Lil’ Kim and Lil Wayne. After Vibe folded, she stayed in the creative world, with work at Art in America, The Magazine ANTIQUES, and Modern; ARTnews later joined that list. She has been fortunate to experience an on-site press check to approve the printing of a book in Verona, Italy, and was just as lucky to be at press sites in Pennsylvania, Virginia, and Cincinnati. She is always in awe and excited to witness a magazine or book coming off the press.
Daniela A. Hritcu joined Art Media in 2019 as the design director, overseeing design and visual identity for all content created by Art Media, with a focus on ARTnews and Art in America magazines. She started as a freelancer, hired to redesign both titles and give the sister publications a distinctive visual voice. Daniela holds a magna cum laude BFA in graphic design from FIT with a minor in advertising. A native of Romania, from which she emigrated in 1995, Daniela also has an AA in drawing and painting, as well as a certificate in preservation and conservation of national patrimony; she worked for five years as a librarian in charge of preserving rare and old books in the National Library of Romania. Having finished college in New York, Daniela took the job of art director at the privately owned Grace magazine, before a few years’ stint at a fashion advertising agency. Her employment since then ranges from on-set art direction, graphic design (focusing on editorial content), branding, promotional and marketing materials, advertising, photography, illustration, and website design. Among the publishers for whom she has worked are Condé Nast, Time Inc, Hearst, and WW Publishing (including the titles W, Details, Bon Appétit, WW, Cooking Light, and Food Network, as well as a few independents). Also the recipient of MIN and SPD awards, Daniela still lives in NY (although secretly wishing she lived on a Caribbean island). You can follow her on instagram @danielahritcu.
Leigh Anne Miller is the photo editor at ARTnews and Art in America. She joined A.i.A. in 2004 as editorial assistant, working with the magazine’s longtime editor-in-chief, Elizabeth C. Baker. Leigh Anne now oversees both brands’ visual material, collaborating with photographers, museums, galleries, artists’ studios, estates, and archives to source images for print and online content. Since 2015 she has interviewed dozens of artists, among them Carmen Herrera, Kerry James Marshall, Lynda Benglis, and Laurie Simmons, for the magazine’s monthly “Backstory” column—an archival photo accompanied by the artists’ memories, in their own words. For several years she interviewed curators, museum directors, writers, filmmakers, and architects (RoseLee Goldberg, Maggie Nelson, Annabelle Selldorf, Cheech Marin, and many others) about their current interests for “Sightlines.” More recently, she has spearheaded “Hands On,” a back-page Q&A with art handlers, conservators, framers, tech specialists, exhibition designers, and others working behind the scenes in the art world. Leigh Anne grew up in Pittsburgh and has a BA in art history and Italian from Washington University in St. Louis. She recently returned from a weeklong trip to Buenos Aires where she saw three separate Julio Le Parc exhibitions: at the Teatro Colón, Centro Cultural Kirchner, and the Museo Nacional de Bellas Artes. You can follow her dog on Instagram @mohawksmoproblems.
Vivien Moses is a senior account executive for Art in America and ARTnews. Having always had a love for visual arts, she earned a degree in theater set design to work for Children’s Dallas Theater and Wrightworks in Dallas. After years spent traveling and working in southern Africa, her publishing career began with Time Warner/AOL, where she strategized the marketing and sales initiatives for five major American publications including Southern Living, Coastal Living, and Southern Accents. This successful tenure quickly lead her to NYC, where she started her New York–based career with Art in America, then owned by Sandra J. Brant, and editor-in-chief Betsy Baker. During this time Vivien evolved sales and growth strategies from a solely print focus to strategizing art world campaigns into dynamic new digital environments, and in 2015 became a senior account manager as the revered Art in America came together with award-winning ARTnews. The company is now Art Media LLC—the art market insider, Art Market Monitor, having joined the other two—to which Vivien brings more than 15 years of publishing experience orchestrating the ever-changing landscape of print, website, social media, digital newsletters, podcasts, sponsored content, and Live Media. When she’s not working, Vivien volunteers in her community, even having coached two winning soccer seasons. She resides in Brooklyn with her husband and two children.
Erica Lubow Necarsulmer is publisher of ARTnews. A native New Yorker, her first appearance on the New York art scene was by means of “Learning Through Art,” a program for second- to sixth-grade students in which her work was shown at the Guggenheim Museum. She pursued this interest at Denison University, from which she graduated with a minor in studio art and a major in psychology. In 2005, after working at the New York Sun newspaper in the Travel and Arts sections, she started at ARTnews, owned at the time by Milton Esterow. Since moving to ARTnews, Erica has witnessed the business go from focusing purely on print to the start of ARTnews.com, and the daily newsletters Breakfast with ARTnews and ARTnews Today, social media sponsorships, engaging sponsored content options, webinars, podcasts, and live media. In 2015, when ARTnews came together with Art in America under the ownership of Peter M. Brant, Erica assumed the position of senior account manager; she was named publisher of ARTnews in 2017. Erica works closely with ARTnews editor-in-chief Sarah Douglas, coordinating the work of editorial and business teams to safeguard the publication’s integrity and promote its award-winning reporting. Since Art Media acquired Art Market Monitor, Erica’s favorite new game is AMM’s Fantasy Art Collecting game. She lives in Manhattan with her husband and twin daughter and son.
Nancy E. Sherman copyedits both ARTnews and Art in America. From early on, she worked with books and magazines, shelving and checking them out to patrons and updating card catalogues in her high school library, at the Graduate Research Library at UCLA, and the Cahuenga branch of the LA Public Library. With a degree in Japanese from UCLA, she worked for the Lt. Governor of California and the California Optometric Association, and ran the front desk of a general dental practice long-term. After moving to the East Coast, Nancy worked at CBS (a stint at 60 Minutes), at an architecture firm, and in the corporate offices of Vera Wang. Her editing career began with proofreading at ad agencies, then at Sterling Publishing, where she moved in mere months from proofreader to copy editor to developmental and project editor of nonfiction books. In that post, she led some two dozen titles from manuscript to bound pages before Barnes & Noble acquired the firm. She chose thereafter to work exclusively freelance, and, for ten years, had steady work at magazines including Discover, Fitness, Glamour, Interview, Vanity Fair, Real Simple, Field & Stream, Self, BioTechniques, NYU Physician, Psychology Today, Parade, Martha Stewart Whole Living, and Laptop. Among other such work was that for the Earth Institute and Teachers College at Columbia University, HarperCollins, Acanthus Press, the National Resources Defense Council, the New York Stock Exchange, and the Girl Scouts. Nancy worked at Art+Auction and Modern Painters before joining ARTnews and Art in America in 2016.
Andy Battaglia is deputy editor of ARTnews, which he joined in 2016. Prior to that, he was a freelance writer and editor for the Wall Street Journal, Frieze, the National, the Paris Review, New York, the Guardian, the New Yorker, Artforum, Bookforum, and other periodicals. From 2001 to 2010, he was an editor and staff writer for the Onion A.V. Club, for which he wrote features and reviews nationally and oversaw a city section devoted specifically to New York. Among his many interests are music and sound—especially when they blur into murky interzones with other forms of art—and he has written extensively about both for publications including the Wire, Pitchfork, Rolling Stone, NPR, Resident Advisor, the Washington Post, and others. He also worked on three anthology books: The Tenacity of the Cockroach: Conversations with Entertainment’s Most Enduring Outsiders (Three Rivers Press, 2002), The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present (Touchstone, 2008), and Inventory: 16 Films Featuring Manic Pixie Dream Girls, 10 Great Songs Nearly Ruined by Saxophone, and 100 More Obsessively Specific Pop-Culture Lists (Scribner, 2009). His favorite pieces for ARTnews include a profile of Fred Moten, a report on a partnership between James Turrell and Arizona State University, a survey of the interdisciplinary ocean-going art enterprise TBA21-Academy, and a consideration of complexities surrounding the Panza Collection—as well as coverage of figures including Matthew Barney, Robert Whitman, Leidy Churchman, Yuji Agematsu, Moor Mother, and Michael Stipe. He also often oversees “The ARTnews Accord.” Follow him @andybattaglia9.
Sarah Douglas was appointed editor-in-chief of ARTnews in July 2014. She has been an art journalist and editor for numerous publications for 20 years, beginning with four years running the US editorial office of the Art Newspaper, after a stint writing exhibition reviews and previews for the New York Times online. Before ARTnews, she was culture editor at the New York Observer, and she launched a visual art site called Gallerist. Prior to that, she spent six years as a staff writer at Art+Auction magazine and its website, Artinfo.com. Sarah has contributed to the New York Times, New York magazine, the Economist, Flash Art, and the National, among other publications, writing about art, the art market, and the art world. She has also participated in and led numerous panel discussions on topics ranging from art collectors’ estate planning to museum funding. Douglas has been interviewed about the art market on the NPR programs “Marketplace” and “Studio 360 with Kurt Andersen.” Books about the art world and the art market that cite her work include Don Thompson’s $12 Million Stuffed Shark: The Curious Economics of Contemporary Art and Michael Shnayerson’s Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art. In 2013 Sarah received ArtTable’s New Leadership award. She is not to be confused with the English actress Sarah Douglas who played the Kryptonian supervillian Ursa in Superman and Superman II. She tweets at @SarahLDouglas.
Maximilíano Durón is a queer, Chicanx journalist and critic covering contemporary art. Born and raised on the Eastside of Los Angeles, Durón is currently based in New York. His writing focuses on the work of artists of color, specifically Latinx/Chicanx artists, queer artists, and their intersections. Durón has been at ARTnews since April 2014, where he is currently editor. He previously interned at the publication while attending New York University, where he studied journalism and art history. Durón is a founding member of Critical Minded, an initiative jointly funded by the Ford Foundation and the Nathan Cummings Foundation that looks to support the work of a diverse, intergenerational group of cultural critics of color. For ARTnews, Durón has aggressively covered a series of protests and actions at El Museo del Barrio in Upper Manhattan, issues of diversity and equity within the art world, and the Getty Foundation’s Pacific Standard Time initiative. He has also written about the work of artists Judith F. Baca, Amalia Mesa-Bains, Daniel Joseph Martinez, Lyle Ashton Harris, Laura Aguilar, Andres Serrano, Margarita Cabrera, David Wojnarowicz, and curator Candice Hopkins. In 2019 he convened a roundtable panel with artists Vaginal Davis, Michela Griffo, and curator Jonathan Weinberg on the occasion of the 50th anniversary of the Stonewall Uprising to discuss its impact on the art world. He later organized a follow-up panel with the Leslie-Lohman Museum of Art, looking at lesbian visibility, with an intergenerational trio of artists: Joan E. Biren (JEB), Lola Flash, and Tiona Nekkia McClodden. Durón is also the lead editor on the annual ARTnews Top 200 Collectors list, which is published each fall. Follow him @maxduron on Instagram and Twitter.
Alex Greenberger is senior editor of ARTnews, where he began as an intern in 2013. His writing has appeared in the Village Voice, Artspace, and Architectural Digest, and his essays have appeared in catalogues for galleries. He runs a column on the ARTnews website called “The Browser,” which focuses on photographic, moving-image, and digital work, and his recent articles include coverage of calls by activists for accountability and transparency in New York museums, profiles of the artist Wu Tsang and the collective Forensic Architecture, an infographic about French collector François Pinault’s network, a ranking of Hito Steyerl’s videos, and a survey about diversity in exhibition programming at US institutions. He runs the “Retrospective” section on the ARTnews website, in which materials from the publication’s archives are republished regularly. A graduate of New York University’s art history and cinema studies departments, he wrote his undergraduate thesis on Bill Viola’s 2002 video installation Going Forth by Day, and he continues to maintain an interest in video art, film, photography, and net art. He can be found on Twitter at @alexgreenberger (where he posts memes about Steyerl and Louise Lawler, in addition to his articles) and on Instagram via the same handle (where he mainly just posts pictures of art). He is based in Brooklyn.
Tessa Solomon is a staff writer for ARTnews. She joined the publication in spring 2019 as a researcher assisting with the annual Top 200 Collectors list published each fall. She is a graduate of the University of Iowa, with a degree in creative writing and journalism; while living in the Midwest she discovered a hatred for deep-dish pizza. Tessa got her start in journalism after stints reviewing manuscripts for the Minneapolis-based publishing house Graywolf Press and the Brooklyn-based literary magazine, A Public Space (she happily still reads creative submissions for the latter). In New York City, Tessa worked as a digital assistant to BUST magazine, regularly reporting on the intersections of politics, arts, and feminism. Notable interviews and coverage include writers Marilynne Robinson and Lena Waithe, photographer Alex Prager, and dream pop duo Beach House. At the Daily Beast, Tessa assisted on the breaking news desk and contributed style and arts reporting, covering New York Fashion Week from the front row. Tessa lives in Brooklyn with a really great sound machine; you may have driven by her as she power walked across the Williamsburg bridge. Feel free to like pictures of her pug, Clementine, on Instagram @tessa.sol and follow her on Twitter @tessa_sol.
Art in America
Francesca Aton is editorial assistant at Art in America, where she began as an editorial intern, after earning a dual BA in art history and visual arts from Fordham University in 2017. She is a recipient of the Lipani Visual Arts award, and her art history thesis, Kouroi: From Ancient Tradition to American Identity (2017), which examines Isamu Noguchi’s 1945 statue Kouros in relation to the sixth-century BCE Greek Marble Statue of a Kouros (Youth), was published in the university’s research journal. While at Fordham, she was an editor for the comparative literature journal Bricolage, her creative writing was published in the literary magazine the Comma, and her artwork was shown in multiple exhibitions. Before joining A.i.A., Francesca was exhibitions associate at the Visual Arts Center of New Jersey, where she worked closely with curators Mary Birmingham and Katherine Murdock, and numerous artists on shows in and around the community. She spoke at the French Embassy, writing and presenting a speech on the cultural impacts of bilingualism, and was a site assistant for the Apolline Project in southern Italy, unearthing, identifying, and analyzing artifacts encased during the 79 AD eruption of Mount Vesuvius. While studying abroad in Rome, she assisted Fordham University professor Jo Anna Isaak with her research and teaching. She translated from French and transcribed an 1846 New Orleans court case for a forthcoming film by Casey Ruble on free woman of color Eulalie Mandeville de Marigny, and wrote the essay Are You Comfortable? Seeking Utility in Helpful Discomfort (2019) in the artist-run magazine Hécatombe. Follow her latest adventures on Instagram at @atonoffran.
Brian Droitcour is associate editor and online editor at Art in America. In August 2019 he launched a weekly newsletter for A.i.A. called The Program, highlighting our coverage of artists working with technology. Digital media and internet art have been frequent topics of Brian’s writing, which has appeared in several publications besides A.i.A., including 4columns, Parkett, Artforum, and Rhizome. He has also undertaken several projects exploring the relationship between institutions and their audiences that are based on an understanding of the viewer as a creative interlocutor with artworks. From 2012 to 2014, Brian wrote criticism on Yelp, adopting a voice specific to the platform in order to explore it as a place for nonprofessionals to engage with art and its venues. In 2015 he edited The Animated Reader, a poetry anthology accompanying “Surround Audience,” the New Museum’s third triennial. The book included social media posts alongside poems using strategies of translation, rewriting, and appropriation, aiming to convey a contemporary experience of constant response to media stimuli. In 2017 Brian edited Provision, a temporary magazine of critical writing, as part of Converge 45, an annual art festival in Portland, Oregon. The two-issue zine was produced over six days of intensive writing and discussion sessions with a group of local writers and artists selected by home school, an informal educational initiative. In 2018 Brian was a resident at the Luminary in St. Louis, where as part of the organization’s “Commoning the Institution” program, he led a workshop with Alison Burstein about institutional voice. The same year, in collaboration with artist Christine Wong Yap, he produced The People’s Guide to the Queens International (2018), publishing audience responses to the Queens Museum’s biennial exhibition of Queens-based artists. Follow him @briandroitcour.
Richard Vine is the senior editor of Art in America. He holds a PhD in literature from the University of Chicago and previously served as editor-in-chief of the Chicago Review and of Dialogue: An Art Journal. He has taught at the School of the Art Institute of Chicago, the American Conservatory of Music, the University of Riyadh in Saudi Arabia, the New School for Social Research, and New York University. Some three hundred of his articles, reviews, and interviews have appeared in various journals, including Art in America, Salmagundi, the Georgia Review, Tema Celeste, Modern Poetry Studies, and the New Criterion. He has made presentations at more than 125 universities, museums, and other cultural venues in cities throughout the US and abroad, including Venice, Shanghai, Buenos Aires, and Saint Petersburg. His critical books include the career survey Odd Nerdrum: Paintings, Sketches, and Drawings (2001) and New China, New Art (2008), which traces the emergence of avant-garde art in post-Mao China. In 2016 Richard published the crime novel SoHo Sins, set in the New York art world of the 1990s. In addition, he has co-curated exhibitions at the National Art Museum of China, Beijing (2013); the National Academy of Art in New Delhi, India (2015); and the John Jay College of Criminal Justice, New York (2016). He is a member of the International Association of Art Critics and the high-IQ society, Mensa.
Emily Watlington is assistant editor at Art in America. In September 2019, she launched “The Exchange,” a column pairing artists in conversation with scientists, researchers, or practitioners working on similar subjects. Her criticism often focuses on video and media art through the lenses of gender and disability studies. A Fulbright scholar with a master’s degree from MIT in the history, theory, and criticism of architecture and art, she has held curatorial positions at the MIT List Visual Arts Center and MassArt’s Bakalar and Paine Galleries (now the MassArt Art Museum). Her writing has been translated into French, German, and Croatian, and has appeared in magazines such as Artforum, Mousse, and Frieze, as well as in books and exhibition catalogues including Before Projection: Video Sculpture 1974–1995 (Hirmer, 2018), An Inventory of Shimmers: Objects of Intimacy in Contemporary Art (Prestel, 2017), and Independent Female Filmmakers (Routledge, 2018). She recently guest edited a special issue of Art Papers on disability and the politics of visibility. She has lectured widely at institutions including Harvard University, Museo Reina Sofía, the Berlin Museum für Fotografie, and the Rhode Island School of Design. With architect Gabriel Cira, she co-taught the course “Architectural Access: Code and Care” at the MIT School of Architecture. In 2018 she was awarded the Vera List Writing Prize for Visual Arts. Follow her at @KeysWalletPh0ne.
Rachel Wetzler joined Art in America as an associate editor in 2019. A regular contributor to A.i.A. since 2016, she has also written for publications including Artforum, Frieze, Art Review, Apollo, ARTnews, the New Republic, the Baffler, Rhizome, art-agenda, and the Los Angeles Review of Books. She has contributed to books and catalogues accompanying the exhibitions “Postwar: Art Between the Pacific and the Atlantic 1945–1965” (Haus der Kunst, Munich, 2016), “Trigger: Gender as a Tool and a Weapon” (New Museum, 2017), the 2017 Whitney Biennial, “Surround Audience” (New Museum, 2015), “Art Post Internet” (Ullens Center for Contemporary Art, Beijing, 2014), “The Encyclopedic Palace” (Venice Biennale, 2013), “Fore” (Studio Museum in Harlem, 2013), and “Greater New York” (MoMA PS1, 2010). As a freelance editor, Rachel has worked on projects for MoMA PS1, MOCA Los Angeles, the Sharjah Biennial, Independent art fair, the MIT Press, MOCA Cleveland, and Damiani. From 2015 to 2018, she taught art history at Baruch College, CUNY. She received an MA (Hons.) in art history and English literature from the University of Edinburgh and an MPhil in art history from CUNY Graduate Center, where her academic research focused primarily on twentieth-century art in East-Central Europe. Follow her on Twitter at @rwetzler.
Anne Doran has written for publications including Artforum, Art in America, ARTnews, Mousse, Collector Daily, and Time Out New York. The Dream Colony: A Life in Art, based on her interviews with legendary curator Walter Hopps and edited by New Yorker fiction editor Deborah Treisman, was published in 2017 by Bloomsbury. From 1996 to 2004, Anne was an editor at the art and literary quarterly Grand Street; between 2005 and 2006 she was a senior editor at ARTnews. After seven years as publications editor for the contemporary art gallery Feature Inc, she returned to Art Media, the parent company of Art in America and ARTnews, first as a senior editor at ARTnews and now as City Guides editor for artguide.pro, the online edition of Art in America’s Guide to Museums, Galleries and Artists. In the 1980s and ’90s, Anne showed her artwork in the US at 303 Gallery, PS1, Hallwalls, Artists Space, and the New Museum of Contemporary Art, and in Europe at the Stedelijk Museum, Amsterdam, and the Centre Georges Pompidou, Paris, among other venues. In 2015 her work was included in the ninth White Columns Annual—a yearly event that New York Times art critic Roberta Smith once called “a view of the past year in the New York art world that is idiosyncratic, ultrahip and useful”; in 2017 Anne selected the show’s eleventh iteration. In 2014 and 2017 she had solo exhibitions at Invisible Exports, New York.
Art in America Guide
Kristie Nilsson is an account manager at Art Media. Her career began with an internship at the studio of photojournalist Eddie Adams, best known for his Pulitzer Prize–winning 1968 photograph of a Vietcong soldier’s execution. In addition to working as Adams’s assistant, she managed his archive and the syndication of his photographs. Following stints as manager for a number of other photo studios, Nilsson was hired by Photo District News, a trade publication for professional photographers. During her 12 years there, she planned events for PDN’s PhotoPlus Expo and the PDN Photo Annual before moving into a sales and marketing role. As an account executive and membership manager, she focused on PDN’s photography guides, promoting the work of a global group of professional photographers for PDN’s PhotoServe and the Independent Photography Network. After leaving PDN, Nilsson spent several years fundraising for the International Center of Photography and Hudson Riverkeeper, organizations with missions that are close to her heart. She joined Art in America in 2017 as an account manager for the Art in America Guide to Museums, Galleries and Artists. She is inspired every day by her work with artists, editors, museums, and galleries worldwide.