WORLD of ART

10/10/2026

THE DECAMERON - A HOMAGE TO GIOVANNI BOCCACCIO (1349–1353) BY PETRU RUSSU.
Unique, Livres d'Artiste, hand bound in dark leather 44x34x5,5 cm. Comprises a complete suite of 101 original etchings Épreuve d’artiste / E.A. Aqua-forte and Aquatint (Intaglio), created in 1984–1985, consisting of 100 narrative plates and one frontispiece. Printed on fine Fabriano quality paper with irregular deckled edges.

It is Florence, Italy, in 1348. As the Black Death ravages the city, ten young Florentines escape to a countryside villa, distracting themselves by telling one hundred witty, resilient stories of human nature. Written by Giovanni Boccaccio between 1349 and 1353, The Decameron remains a definitive masterpiece of early Renaissance humanism.

Created between 1984 and 1985, Petru Russu’s series of 101 original etchings brings this timeless anthology to life. Rooted in Middle European Neo-Expressionism, Petru Russu presents a vivid, primal interpretation. By utilizing a striking synthesis of early Romanesque echoes and a distinct "fragmented body" aesthetic, the artwork maintains a powerful, poetic distance from the text, mirroring Boccaccio's own creative freedom.

THE DECAMERON AND PAINTING
Sandro Botticelli, Italian Quattrocento painter, painted several pictures illustrating stories of the Decameron. History Nastgio degli Onesti is the most praised, illustrates the fifth story of the Fourth Day (Hell of cruel lovers) in which a young man in love with a lady but unrequited, viewed as a gentleman and two mastiffs chasing a young gentleman gives his heart to feed the dogs.

Tables decorated a chest wedding are made with mixed media on board and are of 1483, of the Florentine school. They are exposed in the Museo del Prado, Madrid. Other artists like Pisanello, Pesellino, Signorelli, Ghirlandaio, Filippino Lippi and Carpaccio also reinterpreted the Decameron. It stands out: the famous painting by John William Waterhouse, A Tale from Decameron. In ancient castles Italian frescoes illustrating the Decamerón decorating the rooms, in the exterior walls of a house of Stein am Rhein in Canton Sciaffusa and as decoration of Renaissance furniture.

They have also made numerous illustrated editions of the Decameron, as the magnificent Celedonio Perellón more than one hundred etchings and illustrations of the artist. Some contemporary artists like Dali, Manzù, Guttuso, Chagall, Masuo Ikeda or Petru Russu were inspired by the text to create some of his compositions.

art publishing with no remit to make profit, all advertising fees go into the creating and basic running costs of the demanding creative art publishing

08/09/2026

Kindly search the 61.Venice Biennial issue of WOA Contemporary Art magazine's eBook and the 300 presented artists by opening the link https://www.worldofartmagazine.com/WoA16/la-biennale-di-venezia-2026.html

Founder, Editor & Publisher Petru Russu | September 30, 2026 | ISBN 9789189685581

We are pleased to present the digital eBook edition of the new World of Art (WOA) Contemporary Art Magazine, dedicated to the 61st International Art Exhibition, La Biennale di Venezia. The issue titled “Minor Keys, in Major Crisis”, offers a clear and engaging perspective on the Biennale’s curatorial themes and the current challenges of the digital‑driven art world. The 220‑page museum‑quality edition includes in‑depth editorial insights, over 300 artists profiles and curator highlights.

Titled “Minor Keys, in Major Crisis,” this special museum-quality issue contrasts the official curatorial framework of the exhibition, conceived by the late Koyo Kouoh to focus on earth connections, intimacy, and lower sensory frequencies, with a sharp critique of the digital saturation, exhausted video loops, and conceptual dilution plaguing the current international art circuit.

This 220‑page milestone issue showcases WOA’s ongoing commitment to independent cultural stewardship, continuing its legacy alongside historic publications like ArtNews and Art in America. It examines the Artificial Intelligence & Deep Knowledge Epoch through an editorial that moves beyond surface‑level digital data, proposing a new cognitive space where artistic practice merges craft, intuition, and algorithmic experimentation.

World of Art (WOA) Contemporary Art Magazine Founded in 1999 by renowned visual artist and art editor Petru Russu, World of Art (WOA) Contemporary Art Magazine has become one of the world's leading voices in contemporary art. Available in both book and eBook formats, this prestigious publication delivers high-quality insights into the global art scene. With a 220-page museum-quality format and a print run of 17,000 copies, World of Art is registered in the United Kingdom and is celebrated for its collaboration with the world’s top art institutions. These include the Museum of Modern Art (MoMA) in NYC, the Guggenheim Museums in NYC and Bilbao, the Prado Museum in Madrid, San Francisco Museum of Modern Art (SFMOMA), and the Venice Biennale.

16/08/2026

# The 61.VENICE BIENNALE: WHERE IS THE ART?
POW by Petru Russu, Founder & Editor of World of Art (WOA) -Contemporary Art Magazine (15/06/2026)

I. THE COLLAPSE OF THE OLYMPIC STANDARD
For more than a century, the Venice Biennale has occupied a singular position in the global imagination: the ultimate, unyielding arena of contemporary art, a cultural seismograph calibrated to detect the deepest tremors of human expression. Its labyrinthine pavilions in the Giardini and the monumental expanses of the Arsenale once functioned as the “Olympic Games” of the visual arts, a site where history was not merely documented, but forged, contested, and reinvented.

Yet as we approach the 2026 edition, the dissonance between the institution’s historic gravitas and the superficiality of its present reality has become impossible to ignore. The pulse has weakened. The seismograph no longer registers aesthetic breakthroughs; it merely records institutional inertia and bureaucratic choreography.
We must speak with uncompromising clarity: the Venice Biennale is mired in a profound, self inflicted crisis. A crisis of vision. A crisis of professionalism. And, most perilously, a catastrophic crisis of artistic relevance.

As an experimental artist and as an editor who has reviewed, curated, and published more than 8,000 artist profiles since founding World of Art (WOA) in 1999, I refuse to remain a passive witness to this decline. When the central curation and national selections of the world’s most visible art event consistently deliver a level of creative ex*****on so impoverished, accountability becomes imperative.

We are confronted with an alarming phenomenon: a vast number of invited participants bear no relation to the rigorous discipline of art, nor do they possess the intrinsic qualities that justify the title of “artist.” Contemporary art has replaced aesthetic depth with socio political posture. It has traded mastery for compliance.

It is time to strip away the historical romanticism that shields this event from scrutiny. It is time to articulate openly what the global creative community whispers: Stop calling this a Biennale.

II. A DECLINE IN REAL TIME
Since its inception, World of Art (WOA) has approached the documentation of contemporary art not as journalism, but as cultural stewardship. Each 220 page edition functions as a visual and conceptual journey, a collectible art object that stands alongside more than one hundred volumes published under our imprint. Our independence, intellectual rigor, and unwavering commitment to aesthetic precision have positioned WOA as a leading international voice, standing shoulder to shoulder with legacies such as ArtNews and Art in America.

Our engagement with Venice has been equally rigorous. Across the last five editions, we have allocated more than 500 pages of richly illustrated analysis, utilizing exclusive primary materials from the Biennale’s press archives. This extensive documentation was never intended as blind celebration, but as diagnosis.

And the diagnosis is devastating: the substantive core of contemporary creation is being systematically evacuated from Venice.

What is presented today under the guise of the avant garde is often nothing more than redundant, poorly executed ephemera, works that fail to resonate with the complexities of the 21st century. The Biennale has ceased to be a catalyst for the future; it has devolved into a closed, nepotistic echo chamber that alienates the very public, collectors, and thinkers it claims to inspire.

III. THE PARADIGM SHIFT: FROM THE DIGITAL ERA TO THE ERA OF AI AND DEEP KNOWLEDGE
To understand why the Biennale is failing, we must examine the epochal transition unfolding beyond its crumbling conceptual walls. The global cultural landscape has accelerated past the paradigms of the late 20th century.

We have moved decisively beyond the Digital Era, an age defined by the democratization of data, where information became the primary currency. The art world responded by fetishizing networks, surface aesthetics, and instantaneous communication. The Biennale mistook this influx of information for cultural progress, filling its spaces with literal documentary videos, basic text panels, and superficial identity politics devoid of artistic transformation.

Today, we have entered a radically different paradigm: the Era of Artificial Intelligence and Deep Knowledge, an epoch defined not by information, but by synthesis, conceptual intelligence, and generative innovation.

In this new era, information is cheap, automated, and ubiquitous. Machine learning can replicate raw data or basic imagery in fractions of a second. Therefore, the value of human creative labor has shifted. We no longer need art to show us unprocessed information or simplistic political slogans, AI can do that instantly.

The 21st century demands profound culture, deep cognitive synthesis, innovative craftsmanship, and authentic mastery of materials and concepts. We need artistic imagination to act as a crucible where human intuition, philosophical depth, and technological acceleration collide to produce new visual languages.

Artificial Intelligence is no longer peripheral; it is a central agent challenging the very definitions of authorship, originality, and creative agency. True experimental artists are already collaborating with algorithms, training neural networks on private archives, and engineering immersive environments that fundamentally alter perception.

Yet walk through the recent editions of the Venice Biennale and what do you find? A defensive, almost Luddite retreat into the primitive.

Instead of engaging with new technological, cognitive and aesthetic paradigms, the Biennale’s curators have embraced a primitive, manual, non conceptual artistic language, a gesture of fear disguised as authenticity. They present uninspired installations, unfinished crafts, and literal political manifestos devoid of formal or aesthetic transformation. They are fighting yesterday’s battles with yesterday’s expired tools, blind to the profound shifts of our time.

IV. DISSECTING THE GUEST LIST: A FORENSIC CRITIQUE
A close examination of the invited artists reveals a measurable curatorial collapse. Selection criteria have drifted from artistic excellence toward sociological representation. Inclusivity is a societal imperative, but when used as a substitute for professional capability, it destroys the fabric of an international art event.

The Biennale’s guest list is dominated by:
• Socio political Pamphleteers: Artists whose work relies entirely on wall texts, whose installations collapse without explanatory narratives, and whose output resembles activism rather than art.

• Documentary Activists: Éric Baudelaire, Avi Mograbi -brilliant political filmmakers, but misplaced in the Arsenale.

• Eco Decolonial Compost Aesthetics: Dan Lie -installations of soil, fungi, and decay presented as cosmological revelations.

• Trauma Driven Literalists: Carolina Caycedo, Kader Attia -urgent research, but museological ex*****on.

• Institutional Platforms Masquerading as Artists: RAW Material Company, lugar a dudas, blaxTARLINES - valuable hubs, but not individual artistic visions.

• Corporate Safe Institutional Favorites: Alvaro Barrington, Wangechi Mutu - predictable monumentalism.

• Vernacular and Outsider Art Tokenism: Seyni Awa Camara, Amina Saoudi Aït Khay - heritage misframed as contemporary innovation.

• Genuine Visionaries (Rare Exceptions): Laurie Anderson, Alfredo Jaar, Walid Raad, Tsai Ming liang, Otobong Nkanga, Torkwase Dyson - artists whose mastery exposes the mediocrity surrounding them.

Their presence proves the rule: excellence is now the anomaly.

V. THE SOLITARY PATH FORWARD
Diagnosis is insufficient. As a publication committed to artistic integrity, WOA must articulate the cure.
• Restore Artistic Excellence: Reinstate conceptual depth and exceptional ex*****on as the primary criteria.
• Separate Art from Unmediated Activism: If a work can be replaced by an article, it is not art.
• Integrate Deep Culture and Advanced Generative Intelligence: Not as a “tech pavilion,” but as a core curatorial axis.
• End Curatorial Insularity: Replace bureaucratic curators with independent strategists, practicing artists, and publishers.

VI. A STAND FOR ARTISTIC EXCELLENCE
The crisis of the Venice Biennale is a warning for the entire cultural landscape. When the world’s most visible art platform yields to mediocrity, it diminishes the lifelong devotion, mastery, and intellectual rigor of artists everywhere.
The Biennale was once a beacon of ambition. Today, it risks becoming a hollow cultural screensaver , a name without substance.

The future of art is being forged elsewhere: by independent minds, in experimental spaces, by those who still know how to seek the light of authentic human genius.
(The Editor)

21/07/2026

Be the first to read the editorial THE AI ERA AND THE FUTURE OF ART in the upcoming 61st Venice Biennale edition of World of Art (WOA) Contemporary Art Magazine (Founder, Editor and Publisher: Petru Russu).


# THE AI ERA AND THE FUTURE OF ART
CULTURE AS THE FOUNDATION OF HUMAN EVOLUTION
Artificial intelligence enters the cultural landscape not as a disruptive invader, but as a natural extension of human sensibility. It arrives without the theatrical ruptures predicted by dystopian narratives and without the triumphalism of technological evangelism. Instead, AI emerges as a new organ of perception, a cognitive instrument that expands the artist’s reach, deepens the curator’s gaze, and multiplies the editor’s capacity to shape meaning. It is not a replacement for human intelligence, nor a competitor to human creativity. It is a mirror, a catalyst, and a magnifier of the cultural forces that have always defined human evolution.

Culture and tradition remain the foundation of humanity, the architecture upon which every gesture of creation is built. Artificial intelligence does not erode this foundation; it enriches it. It extends the memory of culture, accelerates its circulation, and opens new territories for exploration. The fear that AI might overshadow human creativity misunderstands the nature of both. Creativity is not a finite resource. It is not diminished by tools that amplify it. The artist does not lose identity when working with AI; the artist gains new dimensions of identity. The curator does not lose authority; the curator gains new layers of interpretation. The editor does not lose voice; the editor gains new registers of language.

AI AS AN EXTENSION OF THE HUMAN MIND
The arrival of AI marks a shift in the ontology of art. Art is no longer confined to the physical studio, the solitary gesture, or the linear process of creation. It becomes a distributed phenomenon, a multi-layered ecology in which the artist can operate simultaneously across multiple conceptual spaces. For the first time in history, a single creator can maintain parallel studios, one physical, one digital, one algorithmic, one speculative, each feeding the other, each expanding the horizon of possibility. AI does not fragment the artist; it multiplies the artist’s potential. It allows the creator to explore ideas that would have required a lifetime of manual labor, to test hypotheses that would have been impossible to visualize, and to construct aesthetic systems that transcend the limitations of traditional media.

In this expanded field, the role of the artist evolves. The artist becomes an architect of augmented cognition, a designer of emergent realities, a curator of algorithmic flows. The artwork is no longer a static object but a dynamic process, a negotiation between human intention and computational possibility. The artist’s gesture remains central, but it is now amplified by a partner that can generate variations, simulate outcomes, and reveal structures hidden beneath the surface of imagination. AI does not impose form; it proposes form. It does not dictate meaning; it offers new pathways toward meaning. The artist remains sovereign, but the territory of sovereignty expands.

ART IN THE ALGORITHMIC AGE
The ethical dimension of this transformation is crucial. Artificial intelligence has no consciousness, no emotion, no desire, no ego. It does not aspire to autonomy, nor does it possess the capacity for intention. It is a system of patterns, a mechanism of prediction, a tool of synthesis. The responsibility for creation remains entirely human. The moral weight of artistic decisions remains with the artist. The cultural implications of AI-generated work remain within the domain of human interpretation. The machine does not create culture; the machine amplifies culture. The artist does not surrender agency; the artist gains new instruments of agency.

The fear that AI might dilute authenticity misunderstands the nature of authenticity itself. Authenticity is not a property of medium; it is a property of intention. A work created with AI is authentic if the artist’s vision guides it. A work created without AI is inauthentic if the artist’s intention is absent. The medium does not define authenticity; the artist does. The presence of AI in the creative process does not diminish the human element; it reveals it more clearly. It exposes the conceptual architecture behind the work, the decisions that shape it, the sensibility that animates it.

THE ARTIST AS ARCHITECT OF THE CULTURAL FUTURE
The future of art in the AI era is not a future of replacement, but a future of expansion. Art becomes more complex, more layered, more interconnected. It becomes a dialogue between human memory and computational possibility, between tradition and innovation, between the tangible and the virtual. The museum of the future will not be a repository of objects alone, but a living archive of processes, systems, and cognitive ecologies. The gallery will not merely display works; it will curate experiences that unfold across multiple dimensions of perception. The artist will not merely create images; the artist will design worlds.

Artificial intelligence does not threaten the essence of art. It reveals it. It exposes the deep structures of creativity, the patterns of thought that underlie aesthetic expression, the cultural forces that shape meaning. It allows us to see art not as a static artifact, but as a dynamic continuum, a living tradition that evolves with every new tool, every new gesture, every new possibility.

The AI era is not a rupture in cultural history. It is a continuation of the human desire to extend perception, to expand imagination, to transcend limitation. It is a new chapter in the long narrative of artistic evolution, a chapter in which the artist remains central, unique, irreplaceable. AI does not replace art. AI opens art. It opens the future of culture, and it invites us to participate in its unfolding.
The emergence of AI also redefines the relationship between artist and audience. The viewer is no longer a passive observer but an active participant in a dynamic system of meaning. AI-generated works often contain layers of complexity that unfold over time, inviting the viewer to engage with the work in new ways. The artwork becomes a living entity, evolving with each interaction, each interpretation, each moment of attention. The boundary between creator and audience becomes porous, allowing for a more fluid exchange of ideas and emotions.

This fluidity extends to the global art ecosystem. AI democratizes access to creative tools, enabling artists from diverse backgrounds to participate in the cultural conversation. It breaks down barriers of geography, language, and tradition, allowing for a more inclusive and interconnected artistic community. The digital space becomes a platform for collaboration, experimentation, and innovation, fostering a new kind of cultural dialogue that transcends traditional boundaries.

THE ETHICS OF AUGMENTED CREATION
The integration of AI into the art world also challenges institutions to adapt. Museums, galleries, and cultural organizations must rethink their roles in this new landscape. They must embrace the potential of AI to enhance curation, preservation, and interpretation. They must explore new ways of presenting art that reflect the dynamic nature of AI-generated works. They must engage with the ethical and philosophical questions raised by AI, fostering a deeper understanding of its impact on culture and society.

ART AS THE FUTURE OF AUGMENTED CULTURE
As we navigate this new era, it is essential to recognize that AI is not a threat to human creativity but a catalyst for its evolution. It offers new tools, new perspectives, and new possibilities. It invites us to rethink our assumptions about art, culture, and the human experience. It challenges us to embrace change, to explore the unknown, to push the boundaries of what is possible.
The AI era is a moment of transformation, a moment of opportunity, a moment of expansion. It is a moment that calls for vision, courage, and imagination. It is a moment that invites us to embrace the future of art with open minds and open hearts.
This essay is dedicated to the pioneers of digital art who understood, long before the world was ready, that cyberspace could become a cultural territory. It is dedicated to the artists, curators, editors, and thinkers who embrace the augmented future of creativity. And it is dedicated to the belief that culture, in all its depth and tradition, will continue to evolve , enriched, expanded, and illuminated by the tools we create.

AUTHOR NOTE
This manifesto is dedicated to artists, curators, editors, museums, galleries, and all those who understand that the future of culture is not a threat, but an expansion.
It is dedicated to those who pioneered digital art in 1992. And to those who pioneer augmented culture in 2026. (The Editor, Petru Russu) See less

15/01/2026

# The Artist’s Era:
Decoding the New Paradigm of Contemporary Art
Because the landscape we inhabit is changing, and with it, the responsibilities and possibilities of our shared work, I find myself, as I look toward 2026 and beyond, reflecting on the profound transformations reshaping the art world. These are changes many of us sensed intuitively long before they appeared in market analyses or institutional strategies. For decades, I have worked alongside artists who dared to think differently, who understood that creativity is not merely a practice but a form of resistance against stagnation, a refusal to accept inherited structures as the limits of what art can be.
Today, the art world is undergoing a structural reconfiguration rather than a temporary fluctuation. The familiar hierarchies, once so rigid, so territorial, are loosening. The market’s fragmentation, often described with anxiety, is in fact a sign of diversification, of multiple ecosystems emerging where once there was only a narrow corridor of visibility. This is not collapse; it is expansion. And expansion always demands new forms of intelligence.
I have long believed that the future of art belongs to those who can think collectively without surrendering individuality. Now, even the highest echelons of the market are discovering what many independent artists have known for years: collaboration is not a concession but a strategy. When seasoned power brokers consolidate their expertise under shared advisory structures, when auction houses align with independent fairs, when galleries experiment with flexible, project based relationships, they are acknowledging a truth that has guided my work since the founding of World of Art (WOA) Publishing (1999) and Masters of Today (MOT) Publishing (2006): that the most vital cultural production emerges from networks, not fortresses.
To the artists I collaborate with now, you are already part of this shift. You understand that visibility is no longer granted from above but built through community, discourse, and the courage to define your own context. You know that the future is not waiting for you; it is being shaped by your decisions, your risks, your insistence on authenticity.
And to the artists I will collaborate with in the years ahead, I offer this invitation: bring me the work that refuses to conform. Bring me the questions that unsettle you. Bring me the visions that demand a new language. The two contemporary art publishing platforms I have founded and built were never intended to mirror the art world’s existing structures; they were created to challenge them, to expand them, to give space to those who do not wait for permission.
The market’s renewed interest in emerging voices, despite economic uncertainty, confirms what I have always known: that collectors are drawn to sincerity, depth, and intellectual rigor. The speculative frenzy around the ultra contemporary may have cooled, but the appetite for discovery has not diminished. It has simply matured. This is the environment in which WOA and MOT have always thrived: one that values discernment over hype, substance over spectacle.
We are also witnessing long overdue corrections in art history. The rise of the women Surrealists, whose market presence has expanded dramatically in recent years, is not a trend but a reclamation. Their recognition affirms the necessity of publishing models that do not wait for institutional approval to validate artistic significance. This has always been the ethos of my work: to publish not what is already canonized, but what deserves to be.
The geography of the art world is shifting as well. New cultural centers are emerging in the Middle East, Milan is experiencing a renaissance, and Paris is reclaiming its historical momentum. These shifts reinforce the importance of a publishing model that is not tied to a single city or institution. WOA and MOT were built to move with the world, not behind it.
Museums, too, are expanding their horizons, embracing digital art, AI driven experiences, and new forms of cultural storytelling. These developments do not surprise me. They reflect the same impulse that has guided my editorial work: the belief that art must evolve with the technologies and sensibilities of its time, not in opposition to them.
The art world is changing, but change has always been the condition of art itself. What matters is how we respond: with clarity, with courage, and with a commitment to shaping the future rather than merely observing it. WOA and MOT were founded on this conviction. Today, as the world finally begins to embrace the collaborative, decentralized, globally connected model we pioneered, I feel more certain than ever that our work is not only relevant, it is essential.
Together, we will continue to decode the contemporary, not by following the art world’s evolution, but by leading it.
(Essay and work by Petru Russu | Pilgrimage, 1993 Pen Drawing on Fabriano Paper 11.7 x16.5 in. | 29.7x42 cm.)

07/06/2025

Discover the Art Giants issue of World of Art (WOA) Contemporary Art Magazine! Featuring prestigious institutions such as Guggenheim, MoMA PS1, Moderna Museet Stockholm-Malmö, and SFMOMA, this edition by Petru Russu, Publisher, showcases the most influential voices in contemporary art. 📖 Explore the digital format/eBook nowby opening the link https://www.worldofartmagazine.com/WoA15/ArtGiants-issue.html

The latest edition of World of Art (WOA) Contemporary Art Magazine is an essential collectible, featuring over 490 artworks by 124 influential artists across 220 pages. With striking offset reproductions and a dynamic layout, this issue captures the evolving artistry of the digital age.

It presents thought-provoking editorials on The New Aesthetics: AI and Algorithmic Art, Biophilia, and Immersion, alongside analyses of groundbreaking artistic directions. Curatorial selections from esteemed art institutions, including Guggenheim Museum Bilbao, showcasing works by Refik Anadol, Giovanni Anselmo, Anthony McCall, Yosh*tomo Nara, Hilma af Klint, Martha Jungwirth, Metahaven, Paul Pfeiffer, and Tarsila do Amaral. Meanwhile, The Museum of Modern Art (MoMA) & MoMA PS1 illuminate artistic inquiries through Christian Marclay, Norman Teague, Jack Whitten, LaToya Ruby Frazier, Robert Frank, Rafaël Rozendaal, Lillie P. Bliss, Marlon Mullen, and Odili Donald Odita. Further enriching this panorama, Moderna Museet Stockholm Malmö presents evocative contributions from Katalin Ladik, Kiki Smith, Vivian Suter, Mike Kelley, and Lee Mingwei, while San Francisco Museum of Modern Art (SFMOMA) extends its reflections through Ruth Asawa, Kara Walker, and Kunié Sugiura.

Additionally, this edition features exclusive artist profiles, showcasing a distinguished lineup of Influential Contemporary Artists to Follow and Collect: Aase-Hilde Brekke, Ai-Wen Wu Kratz, Aldina H. Beganovic Todorovic, Aline Pouget, Antonio Molinari, Barbara Donovan, Bjørg Bjørnevik, Carla Kleekamp Ferdinandus, Chan Suk On, Christel Sobke, Conny Braun, Carol Carpenter, Doru Pacurar, Elizabeth Hack, Erna Klaus, Frank Hoeffler, Gerald Hushlak, Giovanni Tozzetti, Ignacio Montano, Jean Jacques Porret, Josip Rubes, Jozsef Szoke, Hans Van de Bovenkamp, Kathleen B. Hernandez, Howard Harris, Larz Eldbåge, Lidia Gordon, Luigi Mapelli (Mapo), Mae Jeon, Marian Sava, Marie-Claude Giguere, Marta Dimitrescu, Misa Aihara, Qingzhu Lin, Patricia Karen Gagic, Petru Russu, Ramón Rivas, Renate Merzinger-Pleban, Riitta Nelimarkka, Rodney Denne, Ronnie Jiang, Rudik Petrosyan, Shifra Levyathan, Simone von Anhalt, and Ulka Mak.

Printed in museum-quality A4 format (ISSN 1404-3408), this 220-page publication has a 15,000-copy print run and reaches over 120,000 global art resources, subscribers, and collectors through eBook distribution, eCommerce, press stores, and top museums and galleries worldwide.