I'm incredibly proud of the work done by the COLORS team in the last year, from the "Going to Market" issue that launched just as I started, to the recent issues on "Making the News" and "Looking at Art" (with the pages of the fourth pasted up on the wall of the COLORS office as I type. Subject to be revealed soon, rather excitingly.)
Again, my job here has largely been to ensure the team can do its job, clearing a path for it. (For years I've called this leadership tactic "the snowplough", which I started doing at the BBC. It's a technique that we wrote up a bit in the HDL "Legible Practices" book. You should know it doesn't always work.) I also know that if I engaged too much in the editorial and design side, I would a) think about little else, and b) get right in the way. So Patrick Waterhouse, the editor, Enrico, Cosimo and the team just get on with it, and it's been a pleasure and privilege to watch. All the credit to them.
You might expect me to say this, but I think COLORS is right back to being one of the best magazines around. Our issue, no pun intended, is distribution. We're bringing a dedicated person on board to look after that over the next six months, to sort it out. I know from Monocle and Domus days what a nightmare distribution is (where Monocle always had it licked, Domus rarely did.)
I wrote about "Making the News"—the team's unpacking of contemporary journalism—before, so permit me a few words on "Looking at Art", the current issue. Again, I think it's a corker.
It's another linear/non-linear unfolding of current art practice, the current art market, the art media, and a playful hovering around the core question of "what is art?" For the cover, the team had a neon sign made at a fabricator around the corner from Catena di Villorba ("inspired by" Tracy Emin's work), which now proudly adorns the COLORS studio, sometimes glowing beautifully at dusk.