There is no set aesthetic, no house style, no editorial formula. COY is a London-based publication that exists for one stated purpose: to bridge the gap between art and the eyes that view it. In book form, through video and imagery, it presents exclusive content from artists around the world with no pretence and no dictation of what counts as relevant. The only criteria is the quality of the work and the honesty of the person behind it.
The scale of the print editions reflects this ambition. Issue volumes run to 256 and 434 pages — hardcover books, really, not magazines in any conventional sense — featuring 24 to 34 contributors per edition. At £50–60 for a physical copy, these are objects built to last, designed to be returned to rather than discarded. The content ranges from photography portfolios to intimate essays: one recent feature explored vulnerability and emotional openness among Black Caribbean men, with imagery that deliberately pushed against stereotypes of masculinity.
With nearly 40,000 Instagram followers, COY has built a community that understands its ethos: this is a space that belongs to you, and the only requirement for entry is genuine curiosity about what artists are making and why. In a culture industry obsessed with defining and categorising, COY remains stubbornly unclassifiable — which is exactly where it wants to be.
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