Anne considers the work and legacy of May Morris, a designer, embroiderer and jeweller invested in a revival of craftsmanship and artisanal values at the close of the nineteenth century.

Throughout the Middle Ages, Christ was revered as the “Good Pelican” whose blood washes away the sins of the world. This article examines the origins of this Christological title and how its motif pervaded medieval manuscripts.

The portrayal of the New Testament idea of the Eucharist in the Old Testament depiction of Moses guiding the gathering of manna on Brunner’s stained glass window work.

In this article, Parsa considers the legacy of a handful of great historical female artists, arguing against the claims of Linda Nochlin’s 1971 essay, “Why Have There Been No Great Women Artists.” The article begins with a refutation of Nochlin’s methodology and progresses into a discussion of paired case studies of female and male artists, showing their comparable technical skill and artistic achievements.

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.