Read Issue 1: Novelties

An examination of artist Cai Guo-Qiang’s practice on the Himalayan Plateau, tracing the ethical tensions that shape the language of land art.

In the David Winton Bell Gallery’s Spring exhibition of Julien Creuzet’s 2024 French Pavilion, plastic took center stage. To better understand why waste surfaces in contemporary art practices, the Art Review interviewed Creuzet, Max Liboiron, and Jorge Otero-Pailos earlier this year. What emerged was a critical conversation concerning the imprint of colonial legacy, capitalist development, and social stratification upon the landscape today.

The "fileteado porteño" is a design style characterized by extravagant flourishes, nature motifs, and Argentine national symbols. It adorns the city of Buenos Aires, from decorated buses to business signs and graffiti. The style was once on the cusp of disappearing, but mentorship and expansion strategies brought it back.

Genevieve analyzes the mysterious composition of Ivan Aivazovsky’s "Lunar Night on the Black Sea" (1859) and its connections to Russia's shifting identity during the nineteenth century.

Right on the tail of the white-glove Pauline Karpidas sale in London, Sotheby’s offered an impressive 146-lot live sale in Milan on 25 September that reached astonishing results.

The role of greed has been instrumental in the consumption and creation of art for years, from Dutch still lives to modern bidding wars. We must face the consequences of making art a luxury.