The day a new york times review changed julie mehretu’s life
In 2005, Julie Mehretu exhibited for the first time at the Museum of Modern Art in New York. Among the visitors, Holland Cotter, art critic for The New York Times, lingered in front of her monumental canvases. A few days later, his review appeared: "Mehretu’s paintings are like visual symphonies of urban chaos, where layers of ink and acrylic build cities that never were but always feel familiar." That sentence—and the article that followed—propelled Mehretu into another dimension. Collectors flocked, museums clamored for her work, and in 2021, her painting Mogamma (A Painting in Four Parts) sold at Sotheby’s for $9.3 million. Yet just five years earlier, the same artist had struggled to get a single line in the specialist press.
By Artedusa
••14 min readThis isn’t a fairy tale, but the result of a strategy—or rather, a series of micro-strategies—that Mehretu and her team deployed with patience. Because in contemporary art, media coverage doesn’t fall from the sky. It’s built, negotiated, and sometimes stolen. And while galleries like Gagosian or Hauser & Wirth have press teams capable of bending editorial decisions, emerging artists, small galleries, and independent spaces must outmaneuver the system. Here’s how.
01When media silence becomes a strategy
In 2017, American artist Taryn Simon exhibited The Color of a Flea’s Eye at Gagosian Gallery in New York. Yet, unlike the gallery’s usual approach, no images of the show were released before the opening. No press release, no previews for journalists. Just a restrained invitation sent to a handful of carefully selected critics. The result? The New Yorker, Artforum, and The Guardian published detailed articles, intrigued by the mystery. Simon, known for her work on archives and unspoken truths, had turned the absence of communication into a narrative tool.
This tactic of "strategic silence" works for two reasons. First, it creates scarcity: in a world saturated with images and information, absence becomes desirable. Second, it forces journalists to visit in person, generating more in-depth reviews. But beware: this method only suits established artists or those whose work has strong conceptual depth. For others, silence can quickly turn into invisibility.
02The press release that doesn’t look like any other
In 2019, Parisian gallery Chantal Crousel organized a solo exhibition for Cameroonian artist Portia Zvavahera. Instead of sending a standard press release, the gallery attached a 45-second video to their email: Zvavahera, in her studio in Harare, explains in Shona (with French subtitles) how her dreams inspire her paintings. The accompanying text was minimal: "Portia Zvavahera: I Can I Want I Will. September 12 to October 19, 2019. Opening on September 11 at 6 p.m."
The result? Le Monde, Les Inrockuptibles, and market data platforms News included the video in their articles. Why? Because Crousel understood a simple rule: journalists receive dozens of press releases every day. To stand out, you have to offer them something they can’t find elsewhere—a story, an emotion, exclusive access.
A few rules for an effective press release: No PDFs: journalists hate downloading files. Opt for an email with links (Google Drive, WeTransfer) and low-resolution images embedded directly in the body, A compelling headline: avoid generic formulas like "New exhibition at Gallery X." Instead, try "How Portia Zvavahera paints her dreams" or "The artist blurring the line between abstraction and figuration." et A three-line hook: summarize the exhibition in one punchy sentence, followed by two lines of context. Example: "Her canvases, halfway between surrealism and outsider art, explore the boundaries of the unconscious. After a residency at the Rijksakademie in Amsterdam, Zvavahera presents her recent works in France for the first time, where hybrid bodies and dreamlike landscapes intertwine.". A clear call to action: "An interview with the artist is available upon request" or "High-resolution visuals available here [link].".
03The journalists you need to know (and how to approach them)
In 2020, French artist Laure Prouvost exhibited at the Palais de Tokyo. Among the critics at the opening, Roxana Azimi, a journalist for Le Monde, noticed an immersive installation where screens played poetic videos interspersed with absurd texts. Intrigued, she contacted the gallery for an interview with Prouvost. The result: a two-page spread in Le Monde, followed by a mention in The Art Newspaper. For Prouvost, already the winner of the 2013 Turner Prize, this coverage strengthened her visibility in France. For the gallery, it was a victory: Azimi is one of the few French journalists who covers both contemporary art and market trends.
Here’s a non-exhaustive list of journalists and media to target, ranked by influence and accessibility:
Level 1: The essentials (hard to reach, but maximum impact) The New York Times: Holland Cotter (critic), Robin Pogrebin (art market), The Guardian: Adrian Searle (critic), Charlotte Higgins (culture) et Le Monde: Roxana Azimi (contemporary art), Philippe Dagen (art history). ARTnews: Alex Greenberger (news), Andrew Russeth (market) et Artforum: David Velasco (editor-in-chief), Johanna Fateman (critic).
Level 2: Influential relays (more accessible, but demanding) Hyperallergic: Hrag Vartanian (co-founder), Seph Rodney (critic), The Art Newspaper: Anna Brady (market), Louisa Buck (galleries) et Frieze: Amy Sherlock (critic), Sean Burns (news). Contemporary Art Society: Jo Lawson-Tancred (editor) et Aesthetica: Cherie Federico (editor-in-chief).
Level 3: Niche and emerging (ideal for early-career artists) It’s Nice That: Liv Siddall (art and design), Booooooom: Jeff Hamada (photography, digital art) et Juxtapoz: Evan Pricco (street art, illustration). The White Review: Rosanna McLaughlin (experimental criticism) et Two Coats of Paint: Sharon Butler (contemporary painting).
How to approach them? Don’t cold-email them: start by engaging with their articles on Twitter/X or LinkedIn. A thoughtful comment ("Your analysis of X’s exhibition made me rethink my own work on Y") can open the door to a conversation, Propose a specific angle: journalists receive hundreds of emails a week. Avoid vague formulas like "I’d love to tell you about my work." Instead, try: "My exhibition explores colonial memory through sound archives—a topic you touched on in your 2022 article about Kader Attia." et Be patient: a journalist might take weeks or even months to respond. A polite follow-up after 10 days is acceptable; beyond three reminders, move on. Offer exclusive access: a private studio visit, a pre-opening interview, or an unseen visual can make all the difference.
04The art of following up (without becoming a nuisance)
In 2018, Belgian artist Harold Ancart exhibited for the first time at David Zwirner Gallery. His press agent sent a release to about 20 media outlets, including market data platforms News. No response. She followed up once after 10 days: still nothing. A second, more personal reminder followed: "I know you receive a lot of emails, but Harold has a truly unique approach to abstract painting—his work on light and space evokes both Rothko and Richard Serra’s urban landscapes. Would you be available for a 15-minute phone interview?" This time, the journalist replied. The result: a detailed article in market data platforms, followed by a mention in The New Yorker.
Following up is a delicate art. Here’s how to master it: First follow-up (Day 10): a short email reminding them of the initial message. Example: "I’m circling back about my exhibition at Gallery X (link to the press release attached). Would you be interested in high-resolution visuals or an interview with the artist?", Second follow-up (Day 20): add new information. Example: "I wanted to let you know the artist just won Prize Y, which adds a new dimension to their work on Z. Would you be available to discuss it?" et Third follow-up (Day 30): be direct but polite. Example: "I understand you’re very busy, but this exhibition addresses issues that align with your interests (you wrote about this topic in 2021). If it’s not of interest, could you let me know so I can adjust my strategy?".
Absolutely avoid: Follow-ups too close together (less than 7 days apart), Passive-aggressive phrasing ("I see you haven’t responded to my previous email") et Attachments in follow-ups (journalists ignore them).
05When social media becomes a media lever
In 2020, American artist Julie Curtiss posted a 15-second video on Instagram: she’s painting a canvas, with a Björk song playing in the background. The video, shot on an iPhone, was shared by accounts like @contemporaryartdaily and @art21. Within days, it had 50,000 views. The result? Galerie Perrotin, which represents Curtiss, received interview requests from Vogue, i-D Magazine, and The New York Times. The following exhibition, "Monsters and Mushrooms," was covered by over 30 international media outlets.
Social media doesn’t replace traditional press relations, but it can amplify them. Here’s how to use it effectively: Instagram: the most important network for visual artists, Format: prioritize short videos (15-30 seconds) showing the creative process, details of works, or improvised studio visits et Hashtags: use no more than 5, including #ContemporaryArt, #EmergingArtist, and one specific to your practice (#PaintingProcess, #CeramicArt). Engagement: comment on posts by critics and galleries you’re targeting. Example: "Your analysis of X’s exhibition really made me reflect on my own practice—thanks for this work!", TikTok: ideal for reaching a young, international audience et Content: show behind-the-scenes ("How I prepare a canvas," "My studio routine"), or explain an artistic concept in 60 seconds. Trends: use viral sounds to boost visibility. Example: the song "Oh No" by Kreepa for a painting time-lapse, Twitter/X: the network for debates and criticism et Strategy: join conversations about contemporary art by quoting articles or sharing personal reflections. Example: "Y’s latest exhibition at the Centre Pompidou raises a crucial question: can art still be political without being didactic?". Target journalists: follow critics like @hragv (Hrag Vartanian, Hyperallergic) or @sephrodney (Hyperallergic), and engage with their tweets.
Avoid: Overly promotional posts ("Come see my show!"), Low-quality images (blurry, poorly framed) et Heated debates (controversies can harm your image).
06Collaborations that get you noticed
In 2016, French artist JR collaborated with the Paris Opera for a performance titled "Les Bosquets." He invited residents of a housing project in Montfermeil to dance on the stage of the Palais Garnier, filmed in real time. The event, streamed live on Facebook, was picked up by Le Figaro, Libération, and even The New York Times. The result: JR, already known for his monumental installations, reinforced his position as an engaged artist, and the Paris Opera reached an audience that had never set foot in a concert hall.
Collaborations can take several forms: With other artists: a two-person exhibition, like Marlene Dumas and Amy Sillman at David Zwirner in 2021, attracts more press than a solo show, With institutions: a partnership with a museum or art center (e.g., Tacita Dean at the Louvre in 2019) lends immediate legitimacy et With brands: a collaboration with a luxury brand (e.g., Jeff Koons x Louis Vuitton in 2017) or a tech company (e.g., Refik Anadol x NVIDIA in 2022) can generate massive media coverage. With collectives: joining an artist collective (e.g., For Freedoms, founded by Hank Willis Thomas) allows you to pool communication efforts.
How to find partners? Identify organizations that share your values: a gallery focused on ecology (e.g., Galerie Allen, specializing in art and nature) will be more receptive to a climate-related project, Propose a specific idea: avoid generic emails like "I’m looking for a partner for my next project." Instead, try: "I’m working on a sound installation about migration, and I think your space would be ideal for it—here are some sketches." et Be ready to adapt: a successful collaboration is a compromise. For example, Olafur Eliasson modified his Ice Watch installation (2015) to fit the technical constraints of the Tate Modern.
07The power of small victories
In 2015, British artist Hurvin Anderson exhibited for the first time at Thomas Dane Gallery in London. His work, inspired by Jamaican landscapes and family memories, went almost unnoticed in the British press. Yet The Brooklyn Rail, a small New York magazine, published a glowing review by critic David Carrier. That mention caught the attention of Michael Werner Gallery, which now represents Anderson. In 2022, one of his paintings sold at Christie’s for $1.7 million.
This story illustrates an often-overlooked truth: small victories matter as much as major headlines. Here’s how to capitalize on them: Blogs and newsletters: platforms like Two Coats of Paint (contemporary painting) or Contemporary Art Daily (international exhibitions) can provide unexpected visibility, Podcasts: The Modern Art Notes Podcast (hosted by Tyler Green) or Talk Art (Russell Tovey and Robert Diament) are listened to by collectors and gallerists et Awards and residencies: even a small local prize (e.g., Prix des Amis du Palais de Tokyo) can feature in your bio and attract media attention. Peer networks: being mentioned by another artist (e.g., Kara Walker citing Julie Mehretu in an interview) can open doors.
Long-term strategy: Create a press kit: archive all articles, even the smallest, in a Google Drive or online portfolio, Update your bio: add new mentions as they come in et Share your successes: a LinkedIn post like "Thanks to [Media Name] for this great review!" can catch the eye of other journalists.
08What Gagosian’s galleries won’t tell you
In 2023, Gagosian Gallery organized a Gerhard Richter retrospective in London. The opening was a high-society event: hundreds of guests, critics from major media outlets, and global coverage. Yet behind this well-oiled machine lies a reality few artists know: even the most powerful galleries don’t control everything.
Here’s what they won’t tell you: Journalists have quotas: many outlets have coverage targets (e.g., "two articles on contemporary art per month"). If you reach out at the right time, you’re more likely to be published, Press agents are overwhelmed: a gallery like Hauser & Wirth represents over 80 artists. Your exhibition is just one file among dozens. It’s up to you to remind them of your existence et Exclusives are a trap: some galleries promise exclusivity to a media outlet (e.g., The New York Times gets first dibs on images). But if that outlet doesn’t cover the show, you lose an opportunity. Better to diversify. Negative reviews exist: even the biggest artists get them. Anish Kapoor, for example, was criticized for his "narcissistic monument" (Chicago’s Cloud Gate) before becoming an icon et Word of mouth still rules: a recommendation from one critic to another, or from a collector to a journalist, often carries more weight than a press release.
The most important advice? Don’t rely on others to promote you. Build your own network, document your work, and be patient. As Marina Abramović put it: "Art is a matter of time. You can’t rush recognition." But you can speed up the process.
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