LONDON.- Serota, who has appeared in the top ten of every list since the Power 100’s 2002 launch, was ranked number 1 this year on account of the way in which Tate has, since the launch of Tate Modern, consistently deployed an international – rather than a national – perspective on art production. Tate has come to epitomise almost all the elements of the current ‘global’ artworld, where the distribution of art is arguably now more important than its production. Tate Modern remains the most visited modern and contemporary museum in the world and the organisation has partnerships from Seoul and Sydney to Berlin and Oman. As it performs the traditional museum role of validating artists through its shows, Tate also provides the same service for collectors, who are invited to join its various boards and committees. Tate also advises on or programmes content for similar institutions worldwide.

This year’s list, compiled by a 26-member international jury, is also marked by an increasingly porous boundary between the public and private sectors of the artworld, with the public sector attempting to acquire the business sense of the private, and the private sector attempting to recreate the business-neutral atmosphere of the public. Alongside this, the list reflects the continuing internationalisation of contemporary art, via the presence of an increasingly diverse collection of curators.

Demonstrating that the old can sometimes be the new new, American painter Christopher Wool (no 55) is one of the highest new entries on the list as a result of the influence the 59-year-old exerts on a younger generation of artists who are currently fuelling the auction fires. And for the first time since 2005 art advisers, in the form of Allan Schwartzman and Amy Cappellazzo (joint no 70), make an appearance in the power ranks – testimony perhaps to the fact that no single person can be everywhere, seeing everything that the artworld has to offer, all of the time.

Accompanying the Power 100 list is an interview with veteran arts journalist Calvin Tomkins on his friend Marcel Duchamp, arguably the founder of the artworld we have today; overviews of the Chinese, Indian and Middle Eastern art scenes that question how Westernised they need to be; a wistful speculation on what a Power 100 that factored in morality as a criterion might look like and an essay on the blurred distinction between public and private art institutions. The list also features photo portfolios of members of this year’s Power 100 reading their favourite books or magazines.

As the most established ranking within the artworld, contemporary art magazine ArtReview’s Power 100 provides a unique snapshot of the contemporary art scene as it stands today.

An up-to-date analysis of the true meaning of power in the contemporary art world, this ranking of figures is compiled by an invited international panel, with entrants judged on their international influence over the production of art and their contribution to the artworld during the past 12 months.

The informed biographies and portraits of selected artists, museum directors, patrons, dealers, curators and collectors are used by many throughout the year as a definitive guide to who’s who in the artworld.

Founded in 1949 ArtReview is one of the world’s leading international contemporary art mag­azines, dedicated to expanding contemporary art’s audience and reach. Aimed at both a specialist and a general audience, the magazine and its sister publication, ArtReview Asia (launched in 2013), feature a mixture of criticism, reviews, commentary and analysis alongside commissioned artist projects and accompanying guides and supplements.

ArtReview publishes nine issues a year, including two dedicated to particular areas of focus: the Power 100 in the November issue and Future Greats in the March issue. It is distributed throughout Europe, the Americas and Asia. ArtReview Asia publishes three issues a year and is distributed throughout the region and in selected outlets elsewhere.