The Story Behind Arts Interface: Why We Started an Art History Magazine

Let’s be honest: we started Arts Interface because we were tired of the same old, glossy art magazines that felt more like coffee table ornaments than a passionate conversation. We wanted something that spoke to us, not at us—a publication that matched our curiosity, didn’t just catalogue it. That’s the heart of why we’re here.

The Spark: Why We Felt a New Magazine Was Needed

Our team, based in London and Edinburgh, felt existing magazines like Apollo or The Burlington Magazine were often too academic or expensive, leaving a gap for a more personal, accessible take on art history. We admired their rigour, but we craved a voice that felt like it was in the room with you, unpacking a painting’s secrets over a good cup of tea.

The Gap in the UK Market

In the UK, the landscape felt polarised. On one end, you had the venerable, century-old publications, dense with scholarship and priced for institutional libraries. On the other, broader culture magazines that only touched on art history in passing. We saw a vibrant community of gallery-goers, amateur painters, museum members, and curious readers who were underserved—people who wanted substance without the stiffness, and insight without the intimidating price tag.

Our Personal Frustrations as Readers

As subscribers ourselves, we’d often finish an article feeling informed but not inspired. The human connection—the story of why a piece moves us, the technical wizardry behind a brushstroke, the rebellious spirit of a movement—was often buried under formal analysis. We wanted to resurrect that spark. We dreamed of a magazine that felt like a guided tour with your most knowledgeable, enthusiastic friend.

Building Our Editorial Voice and Mission

We committed to a first-person plural voice (‘we’) to create a sense of shared discovery, blending informed opinion with a conversational tone to make art history engaging, not intimidating. This wasn’t about dumbing down; it was about opening up.

‘We’ Not ‘They’: A Collective Journey

From the start, we decided against the anonymous, omniscient “they.” Using “we” is an invitation. It says, “Come with us as we explore the hidden symbols in a Bruegel,” or “Let’s decode the political fury behind a Pre-Raphaelite Brotherhood painting together.” It frames art history as a living dialogue we’re all part of, not a closed lecture.

Informed But Opinionated: Our Core Tenet

Our core tenet is simple: be deeply informed, but never neutral. We believe passion is contagious. Our writers—curators, historians, practising artists—are encouraged to have a point of view. Is a celebrated masterpiece overrated? Is a overlooked sketch a quiet triumph? We’ll make the case, backed by facts, and trust you to join the debate.

Crafting the Content: From Movements to Techniques

We structure our issues to balance deep dives into movements like the Pre-Raphaelites with practical guides on techniques, ensuring there’s always something for both the novice and the aficionado. A typical issue might contain:

• A definitive guide to the symbols and scandals of the Pre-Raphaelites.
• A step-by-step exploration of how Renaissance artists achieved fresco.
• An interview with a contemporary printmaker reviving ancient methods.
• A personal essay on getting lost in the vast halls of the Tate Britain in London.

Beyond the Canon: Spotlighting Diverse Artists

While we cover the giants, we’re passionately committed to widening the lens. You’ll find as much space devoted to the Baroque women artists forging careers against the odds, or the Global South modernists who shaped the 20th century, as you will to the traditional European canon. Art history is a global story, and we’re dedicated to telling all of it.

Practical Guides for Art Lovers

We believe understanding comes from doing. That’s why we include practical guides that let you grasp history through your own hands. Learning how to grind pigments like a medieval illuminator, or compose a perspective drawing like a Renaissance master, creates a profound, tactile connection to the past that pure theory never can.

Navigating the Practicalities: Price, Print, and Reviews

We explain our decision to offer a competitive subscription price and high-quality print runs in the UK, and how we value genuine reader reviews over mere prestige. For us, accessibility isn’t just about language; it’s about cost and quality, too.

Our Pricing Philosophy

We deliberately priced Arts Interface well below the leading academic journals. We want it on your reading stack, not just a library shelf. This means running a lean operation and focusing on direct subscriptions. We also invest in high-quality, responsibly sourced paper and print locally in the UK to ensure each issue is a beautiful, tactile object you’ll want to keep—not a flimsy pamphlet you’ll recycle.

Why Reader Reviews Matter Most to Us

While we’re proud of our contributors, we don’t chase big-name bylines for prestige. What truly matters is what you think. A review saying, “Your article on Hogarth made me see his work completely differently,” means more than any industry award. Your feedback directly shapes our editorial calendar, telling us what periods, techniques, and artists you’re hungry to learn more about.

Our Team’s UK Roots and Global Perspective

Our contributors are curators from the Tate and historians from the University of Oxford, giving us local insight, but we always connect British art to a wider global context. This dual perspective is in our DNA.

Drawing on British Institutions

Our roots run deep into the UK’s cultural soil. We collaborate with experts from the University of Oxford’s History of Art department, feature photographers documenting the annual Edinburgh Art Festival, and analyse collections from the National Galleries of Scotland to the Victoria and Albert Museum. This gives us an unparalleled depth when covering British art.

A Local Magazine with a World View

Yet, we never view British art in isolation. A feature on Turner isn’t complete without discussing the influence of European landscape traditions and his impact on American painters. We trace connections, map influences, and ensure that every local story we tell is woven into the rich, global tapestry of art history.

Frequently Asked Questions

How often is Arts Interface magazine published?

We publish quarterly – four substantial issues per year, each themed to a season. This gives us the time to craft deeply researched, beautifully designed features, and gives you the perfect paced companion for a year of art exploration.

Where can I buy Arts Interface magazine?

You can subscribe directly through our website, artsinterface.org, which is the best way to guarantee you never miss an issue and get the best price. We also have select stockists in independent bookshops and galleries across the UK, which we list on our site.

How does your content differ from The Burlington Magazine?

We have enormous respect for The Burlington Magazine and its scholarly legacy. Our approach is complementary. We aim to be more conversational and accessible, often starting with a personal hook or a practical technique to draw readers in. Think of them as the academic conference; we aim to be the brilliant, engaging public lecture that follows.

Do you cover contemporary art as well as art history?

Our primary lens is historical, but we frequently draw clear, insightful lines to the present. We might explore how the techniques of the Old Masters are used by contemporary painters, or how the themes of a Renaissance drama are reinterpreted in modern video art. History, for us, is a conversation with the present.

Can I submit an idea or article for consideration?

Absolutely! We are always open to pitches from writers, artists, and researchers who share our passion for making art history engaging. Please see the ‘Write for Us’ section on our website for detailed submission guidelines.

Ultimately, we emphasize that Arts Interface exists not just to document art history, but to invite our readers into an ongoing, passionate, and accessible conversation about it. We’re not a monument; we’re a meeting place. And we’re so glad you’re here.