Critical Read brings the true stories of the fine, literary and performing arts to a wide readership. We publish artwork biographies, reported stories, profiles, cultural history, essay, interviews and first person stories.
Our mission is to re-imagine critical writing about the arts, and to make American art and art history more accessible and discoverable. Before you pitch us, please take the time to read the work on our site.
We read pitches and unsolicited submissions. We accept submissions year-round. Please allow up to six months for response. We will only consider previously unpublished work.
We pay our writers. Rates vary by assignment.
As we adjust to life in this time of uncertainty, art is perhaps even more urgent, as we turn to the people and places most important to us in order to find a sense of normalcy and safety.
At Critical Read, we know that art is essential. We have always known this. We're asking you to help us spread the word.
We are looking for essays of around 300 words on a work created by an American artist—be it visual art, performing art, or literature—that you are turning to now. It could be an appreciation of the art you have access to from your home. It can also be a remembrance of the art you wish you could see or hear, or a trip to a museum or arts organization that you wish you could relive. How is this work of art sustaining you right now? How has it transformed you? Why does it drive you?
We will be publishing a collection of essays every month. Selected essays will be awarded $25.
Examples for what we are looking for can be seen here: http://www.criticalread.org/art-is-essential-essays-week-one
For our new series, Open Canon, we're looking for stories of underappreciated American artists.
We are particularly interested in those writers, artists, and performers whose work has been unfairly overlooked or forgotten because of their race, ethnicity, gender or sexual orientation.
We want short, informative profiles of these American artists whose work hasn't historically been considered canonical but maybe should be. What was their most important contribution to American art history? Was it a particular way of working, an idea, a style?
Please note: This is not the space for contemporary artists. Those interested in pitching stories about contemporary artists should look at our Pitch a Reported Story form.
Critical Read seeks 800-1200-word true stories about life-changing experiences with art.
Tell us about a time when art saved you. Were you in danger? Were you desperate? Did art come to you in a time of great need? What was happening in your life? How did you encounter art and how did it save you?
We’re particularly interested to hear high-stakes stories that had real consequences. Maybe a disagreement over a favorite album ended a long friendship. Maybe a passion for art caused you to break the law or put yourself at risk. How did the art bring you back to yourself? How did the experience change your life? How did art help you make a difficult decision? Did it present a choice? Let us into your thoughts and actions in that moment and describe how you got there.
We want you to think beyond the art you hang on walls. Everything from music, dance, film, or architecture—if you think it’s art, we are interested.
We accept both submissions and pitches for reported stories, scenes, interviews, and cultural history essays. These stories should be grounded in fact, not opinion, with an emphasis on the people, places and things that make the arts what they are.
In order to be a good fit for Critical Read the story should exhibit the following:
- The subject pertains to American art and art history.
- It's an original story that has not been covered in another publication.
- It is not tied to the publicity cycle.
The stories should fit into one of these verticals:
Craft -- Explanatory stories about the craft behind the arts. Ex.: How To Tell a Dance on Film, a look at the practice of recording dance on film.
Origin -- Researched and reported pieces about the unknown and/or hidden history behind the arts. These stories should explain the unusual beginnings and/or forgotten histories of an artwork or art discipline we all think we know. Ex.: Fuller Credit, a look at Loie Fuller's little-acknowledged contributions to cinema.
Commentary -- Voice-driven and opinionated essays on an issue in contemporary art. This is the place for criticism and writing that takes a stand on a matter of particular interest to the writer. Ex.: Stuffed, an examination of the politics of taxidermy-as-art.
Revisionary -- Profiles of people seeing the arts in a new way. Ex.: Begin at the End, a profile of musician Ken Thomson.
Hidden Highbrow -- Tell us about the literary, artistic, and other highbrow cultural references lurking in works of pop culture.
The Great -- Stories at the intersection of the arts and the outdoors
Immersion -- On the scene reports of the work artists and arts groups are doing to compete in the attention economy. What technical innovations are artists or arts groups making to rethink their discipline and their impact?
Far Out -- Interviews with artists and arts professionals who consider themselves outsiders. We want to know how these mavericks got where they are, specifically what work of art or artist inspires them the most and how they describe their artistic processes. Ex.: Drop Out. Tune In. Start a Revolution.
Artwork biographies are our deep dives. These stories are fact-based and narrative-driven. They balance opinion with research and reporting, but their emphasis is on storytelling. You can think of them as non-academic criticism aimed at the general interest reader, or as the best program notes you've ever read.
For these stories we are particularly interested in non-canonical American artists whose legacies have not been adequately protected.
Artwork biographies are typically assigned at 4,000-5,000 words.
Critical Read is a nonprofit organization supporting the promotion of the arts and culture in the United States. By 'art' we mean nonprofit arts including but not limited to ballet, drama, classical music, opera, jazz, performance, installation, visual art and more. We have a particular interest in deserving works of art that are not (yet) considered canonical. Our priority is works of art by American artists. We are very interested in pitches about works of art by American artists whose legacies have not been adequately protected.
We will consider pitches for stories that touch on works of obscure or vintage pop culture and Americana. Your pitch should not be tied to the publicity cycle.
To pitch an artwork biography, please complete the form. This will tell us which work of art you want to profile, define the characters in the story, explain the central conflict and themes of the story you want to tell. If we are interested we'll ask you to submit a formal pitch, including the following:
- A draft outline of how you would treat the subject
- A sample introduction to the work – ~500 words