The Guardian today announces that Adrian Searle, its chief art critic since 1996, will step down from his full-time role at the end of March. A prominent figure in global arts journalism, Searle’s three-decade tenure has been defined by a rare ability to write about art for a mass audience with authority, honesty and humour.
Searle’s final article, a look back at the past 30 years and what he’s learned, will appear on 1 April. He will continue to contribute occasional articles to the Guardian.
When Searle joined the Guardian, he transitioned from a career as a painter to become one of the art scene’s most influential critics. Searle’s reviews have demystified art for millions of readers. Throughout his career, he has championed excellence in contemporary painting, sculpture, performance, video and installation work while seeing through the hype and ego of the art world. He was a pivotal voice during the rise of the Young British Artists (YBAs), providing early support for figures like Steve McQueen, Gillian Wearing, and Chris Ofili.
Searle has been a central figure in contemporary art, serving on juries for major awards, including the Turner Prize (2004). He has also organised major exhibitions for the Hayward Gallery, the Serpentine and the Reina Sofia in Madrid.
Some of his landmark reviews include his 1999 assessment of the Turner prize shortlist, when Steve McQueen beat Tracey Emin, of whom he said “this tortured nonsense can’t go on”; his view on Doris Salcedo’s Shibboleth, which was a giant crack in the floor of Tate Modern’s Turbine Hall (“You could stick your arm in, but you might not get it back”); and his lyrical assessment of Ragnar Kjartansson’s video installation The Visitors, which he judged to be the best artwork of the 21st century so far. Searle has also championed artists at the outset of their careers, including Peter Doig, Marlene Dumas, Isaac Julien and Philippe Pareno.
Reflecting on his time at the Guardian, Searle commented:
“Writing about art for the Guardian has been an exhilarating ride, during a period of huge social, political, cultural and technological change. It has been a privilege to be here, and especially to comment on the art I care about. Now, after 30 years, it feels like time to step away. While I still have the curiosity and the enthusiasm, I want to write differently, with fewer deadlines, more time and mental space, and to see where the words might take me.”
Alex Needham, the Guardian’s arts editor:
“Adrian manages to write pieces that connect with and enlighten both people who know as much about art as he does, and those who only visit a gallery occasionally. In the many years I’ve worked with Adrian, he’s never turned in anything under par. His reviews are meticulously considered but never laboured, and they’re always a delight to read. As well as his fantastic eye and scrupulous pen, I’ll miss his intriguing hints, often within his articles, about the wild nightclubs he’s attended.”
Guardian editor-in-chief Katharine Viner :
“The Guardian will miss Adrian’s fantastic writing on the visual arts, and so will I. His reviews are always perceptive, insightful, and often funny. He looks at art with incredible care, even tenderness, and notices the details that make it soar or sink. Adrian’s body of work creates a high bar for the Guardian to live up to as we continue to deliver more of the rigorous, world-class culture coverage he has championed for three decades.”
In the wake of Adrian’s departure, Guardian art critic Jonathan Jones will continue to cover major exhibitions, including the Venice Biennale in May. Other regular critics include Charlotte Jansen, Eddy Frankel and Chloë Ashby, who will soon be joined by Ben Eastham. The arts desk is eager to hear from other art critics who would like to write for the Guardian.
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For more information or to request an interview, please contact media.enquiries@theguardian.com.
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