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.
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.
