Dec 9

Dec 9 David Velasco: Challenging Art’s Intersection with Politics and Corporate Power

David Velasco’s rise in the art world is as compelling as the questions it now raises about the intersection of art, politics, and corporate power.

Grandchild of Mexican immigrant parents, Velasco's career began in a seemingly bygone fashion: a prize for young, unpublished writers at Art Papers led to an editorial position at Artforum after responding to a classified ad. Over twelve years at artforum.com, and then another six as the magazine’s editor-in-chief from 2017, Velasco transformed Artforum into a platform that dared to confront the pressing issues of race, gender, politics, and power in art.

Velasco’s tenure wasn’t just about reshaping Artforum; it was about challenging the cultural establishment. Yet in October 2023, this vision met a stark end when he was dismissed for publishing an open letter signed by more than 8,000 plus artists and art professionals, calling for a ceasefire in Gaza. For some, the letter reaffirmed art's historic role in advocating for humanity; for others, it was an unwelcome political statement that thrust an art magazine into contentious geopolitical discourse. This moment has reignited urgent questions about the role of art publications in shaping—and being shaped by—our broader cultural narrative. Velasco’s dismissal underscores the tension between artistic independence, corporate priorities, and political propaganda echoing debates that ripple far beyond the pages of Artforum. As the art world grapples with these dynamics, Velasco’s story is a microcosm of the challenges and stakes in the ongoing struggle for cultural spaces where advocacy and art can coexist without compromise.

Velasco’s career has been built on a fearless approach to art criticism and cultural commentary. Under his leadership, Artforum evolved into more than just a magazine about art; it became a space for dialogue about the world's most pressing social issues. His approach often championed marginalized voices, fostering inclusivity in a field historically dominated by Eurocentric narratives. Critics and supporters alike have acknowledged his ability to balance intellectual rigor with accessibility. This made it a staple for both seasoned professionals and younger generations of artists and readers eager to understand the nuances of contemporary art.

The open letter published in Artforum was a response to the devastating loss of lives in Gaza, a collective of artists and writers speaking up against genocide. It was neither the first nor the most provocative instance of artists and cultural figures using their platforms to speak out on conflict. In 2019, the magazine published a letter criticizing the Whitney Museum’s vice-chairman Warren Kanders, whose company was accused of selling tear gas to U.S. border agents; Kanders ultimately resigned from the board. The year prior, Velasco published an essay by artist Nan Goldin holding the Sackler family accountable for the opioid crisis, a pivotal moment that inaugurated her activist group P.A.I.N. and eventually led to the Sackler name being removed from major cultural institutions. In 2021, the magazine featured the Palestinian Museum on its summer cover.

So when the Israel-Palestine war broke out in October 2023, Velasco and his editorial team felt compelled to respond. Initially, they considered commissioning a single writer to address the conflict, but there was concern about the risks of putting one individual in the spotlight. When an open letter, already signed by numerous Artforum cover artists, was sent to Velasco, it seemed like a collective and appropriate way to amplify the art world’s response. Well, the fallout was swift. Accusations of bias from ‘certain’ board members at Artforum’s parent company Penske Media led to Velasco’s shocking/not shocking dismissal. In a statement, he expressed his disappointment, saying, "I stand by the values of free expression and the power of art to foster meaningful conversations about the world we inhabit.”

When Penske Media acquired Artforum in early 2023, concerns about how corporate ownership might affect the magazine’s editorial independence loomed large. Unfortunately, those fears were quickly realized. This reflects a broader global reckoning with the freedom artists and publications have to advocate for controversial causes, leaving many anxiously questioning how much space remains for dissenting voices.

His dismissal has reignited discussions about the role of art publications in political discourse. The decision to publish the Gaza letter was polarizing, but as Velasco noted, “Impact often looks like division. You create an opportunity for people to clarify where they stand.” His former colleague Kate Sutton, who resigned in the wake of his dismissal, argued that speaking out should not be contingent on comfort:

“I wouldn’t want to be part of a publication that only speaks out when it’s comfortable. Like we saw with the Russian invasion of Ukraine—no one ever took issue with us giving a very clear platform to Ukrainian artists through Yevgenia Belorusets’s diaries or Nikita Kadan’s portfolio.”

- https://www.memoreview.net/magazine/issue-2/in-conversation-david-velasco-and-kate-sutton

At a time when speaking up carries tangible risks—for fear of being “canceled”, to professional backlash, and even personal safety, solidarity is key. And as Velasco noted, “Every person who took their name off that list put everybody else at risk. They weakened the contract of solidarity.” For younger generations, the Velasco controversy raises profound questions about the relationship between art, politics, and free expression. Gen Z, often branded as hyper-political or overly sensitive, is instead grappling with a more nuanced reality: how to navigate a world where every statement feels like it carries the weight of ideological warfare. Many young creatives see the controversy not as a call to arms but as an assertion of their right to think and speak freely. For them, Velasco’s dismissal underscores a chilling reality: even in spaces dedicated to creativity, dissent can very likely come at a cost.

However, there’s also a recognition that art has always been political. From Diego Rivera’s murals to Ai Weiwei’s installations, art has long been a medium for addressing injustice and imagining alternative futures. The current generation isn’t shying away from this legacy but is questioning who gets to decide what is "appropriate" political engagement in the arts. For younger artists and readers, the lesson is clear: navigating these waters requires courage and a willingness to challenge established norms. So here’s looking at you kids—make us proud.