1.1. Compassionate Journalism.
At Irrelevant Edition, we believe in compassionate journalism. This means, unlike old-fashioned art critics, we aim to create a dialogical interplay of critical thought and artworks, and attempt to map out this connexion with words. Therefore, our art reviews remain critical without being harsh, hurtful, or unkind. We think of artists and curators as individuals that invest their time, energy, and money in art, without much – if any – financial return. We either can connect a critical thought to an exhibition, the result of which is an article, or we simply cannot, which means we would not write about it: our reviews are all positively inspired by the works of artists.
1.2. Anti-discriminatory Policy.
In line with compassionate journalism, if we understand artworks or artists to be propagating violent or exclusive ideologies against animals or individuals of specific genders, sexualities, races, or [dis]abilities, we will not review that exhibition and/or artist.
2.2. Artistic Policy.
Our main interest is in artists and galleries that send out a message of diversity and equality, conjure up critical thinking and posthumanist critiques, and often push the limits of artistic forms and methods.
2.3. Art and Equality.
If you are an artist or a gallery curator whose artworks advance or promote equality for animals, individuals of all genders, sexualities, and races, or engage to enhance the lives of the oppressed, the minorities, or the vulnerable, please contact us—we would like to promote your cause and your artworks!
3. Our Use of Images.
We always reference the photographs of your artworks clearly and accurately. However, Irrelevant Edition has its own specific and consistent way of doing this.
i. The exhibition’s title in the first line of each article is always hyperlinked to the gallery’s dedicated page for the exhibition. If there is a catalogue of works available to the general public on the gallery’s website, we put the catalogue’s link in the first line.
ii. In the caption below each artwork’s image, we list the artist’s name, the title, the year of production (if available/necessary), the material and technique, and the dimensions of the artwork.
a. The name of the artist will be omitted from captions if it is a solo exhibition, or if the article is dedicated to the works of a single artist.
b. If the images are taken from the artist’s or the gallery’s website, and if the links seem stable, we will hyperlink the title in the caption to the relevant webpage.
iii. At the end of each article, there will be an endnote with the credit line reading “images reproduced by kind permission of the gallery and the artist”. A copyright symbol (©) followed by the name of the artist(s) will be mentioned in this endnote.
a. Depending on the situation, permission may have been granted only by the artist or the gallery, in which case the irrelevant authority will be omitted from the credit line.
b. If we take photographs of the exhibition (for which we will ask the gallery’s or the artist’s permission in advance), the credit line will read: “images taken and reproduced …”.
c. If the photographer is known, they will be credited as “Photographs by …” in the endnote.
iv. We may need to resize and/or crop the images (without changing the colours or adding filters) when uploading the images or attempting to emphasise detail of an artwork.
v. Each article is advertised on our social media accounts, accompanied with an image from the exhibition. Since the artist’s name, the title of the exhibition, and the name of the art gallery are already mentioned in the tweet, and due to lack of space, image’s details will not be listed. If the artist, the gallery, or the photographer are Twitter members, we will tag them in the image.
We reserve the right to take down the articles without providing explanation to the artists or the galleries.
All individuals, editors, contributors, designers, and assistants in Irrelevant Edition agree to adhere to this Editorial Code.