The New York art scene was bustling with events this week. The New York Botanical Garden held its annual Orchid Dinner at the Plaza Hotel, featuring elaborate floral designs and guests like Martha Stewart and Sigourney Weaver. Meanwhile, Sotheby's hosted the Art for Water benefit auction for the Waterkeeper Alliance, with works by Jeff Koons and Ed Ruscha, and the New Museum celebrated the opening of a major Raymond Pettibon exhibition.
Artist Lucy Raven has completed her film trilogy, "The Drumfire," with the release of Murderers Bar (2025). The 42-minute film documents the historic removal of four dams along the Klamath River, capturing the dramatic release of water and the restoration of a river system flowing from Oregon through Northern California. The work is currently on view at the Power Plant in Toronto and is scheduled to travel to the Institute of Contemporary Art Boston in May.
Artists Brian Eno and Beatie Wolfe have announced a collaborative music project titled *Lateral* and *Luminal*, two albums set for release on June 6, 2025. The albums, recorded intermittently over 2024, reflect distinct moods: *Lateral* is described as “Space music” led by Eno, while *Luminal* is “Dream music” headed by Wolfe. Early singles include “Suddenly” from *Luminal* and “Big Empty Country” from *Lateral*. The duo first met at the South by Southwest Festival in 2022, where they discussed art and climate, and later reconnected while holding exhibitions at separate London galleries. Their collaboration extends beyond music to a conceptual framework that names specific emotions—such as “fèath,” “pronoia,” “dor,” and “mono no aware”—to make feelings more tangible.
This article features an in-depth interview with artist Olafur Eliasson, who discusses his career-long focus on human perception, environmental concerns, and the concept of "we-ness" in his work. Eliasson reflects on key installations such as *Beauty* (1993) and *Your lost lighthouse* (2020), his influences from thinkers like Donna Haraway and Alva Noë, and his fascination with James Turrell and early Renaissance art. He also shares insights into his Berlin studio and answers the question "what is art for?" The piece is accompanied by details of his current exhibitions in Brisbane, Jakarta, and Singapore, as well as a new permanent public work in Oxford, UK.
The Guggenheim Bilbao has canceled its planned expansion in the Urdaibai Biosphere Reserve, a UNESCO-designated site in Spain's Basque country, citing territorial, urban planning, and environmental constraints. The project, first announced in 2022, faced fierce opposition from activists, environmental groups like Greenpeace, and over 1,000 Basque creatives who signed a petition. The expansion would have included a facility in Guernica and a net-zero exhibition space in Murueta, but legal disputes and public pressure led the museum's Board of Trustees to terminate the plan. Local group Guggenheim Urdaibai Stop celebrated the decision as a victory and plans a festival in February 2026 to mark the project's demise.
The Great Elephant Migration, a public art project featuring 100 life-size elephant sculptures, has concluded its cross-country journey in Beverly Hills, California. The sculptures, crafted by Indigenous artisans of the Coexistence Collective in India from the invasive lantana camara weed, represent real elephants from the Nilgiri Biosphere Reserve and the Sheldrick Wildlife Trust. The herd traveled 5,000 miles via electric trucks, making stops in Newport, New York, Miami, Houston, Jackson Hole, and Montana, before arriving at Beverly Gardens Park. The artworks are for sale, with prices ranging from $8,000 to $22,000, and sales have exceeded $3 million, with proceeds supporting 22 conservation NGOs.
COP30, the United Nations Climate Change Conference, opens in Belém, Brazil, with culture officially on its agenda for the first time, thanks to advocacy from the Amazonian activist group Labverde and Art of Change 21. The conference features interventions and performances by eight Brazilian and indigenous artists, including photographer Christian Braga and activist Beto Oliveira, alongside a flurry of artist-led activities in UK galleries and institutions. The article also marks the tenth anniversary of Gustav Metzger's environmental art project "Remember Nature," which mobilized over 140 artists including Judy Chicago, Olafur Eliasson, and Marina Abramović, and was revisited on November 4, 2025, with sixteen English arts institutions hosting public projects.
Lucy Raven's video installation "Murderers Bar" (2025) has its European premiere at the Barbican's Curve gallery in London. The work documents the 2023-2024 demolition of four dams on the Klamath River in Oregon and California, focusing on the destruction of the Copco No. 1 dam built in 1918. The film is the final part of Raven's trilogy "The Drumfire," exploring themes of pressure, release, and material transformation. It uses aerial photography, drones, lidar, and sonar animations to capture the river's reclamation of its course after the dam's removal, following decades of activism by Indigenous communities including the Yurok, Karuk, Klamath, Hoopa, and Shasta Indian Nation. The exhibition also includes a new kinetic sculpture, "Hardpan" (2025), that physically manifests ideas of force and pressure.
Greenpeace activists scaled a Shell-operated gas rig in the North Sea and unfurled a 315-square-foot canvas titled "Butchered," designed by artist Anish Kapoor. The activists sprayed crimson paint made from beetroot powder and pond dye across the canvas, creating a blood-like stain intended to symbolize environmental destruction. The work, described as the first fine art exhibited from a working gas rig, was erected during the UK's fourth heat wave of the summer to protest fossil fuel companies' role in climate change.
Maya Lin, the renowned artist and designer known for the Vietnam Veterans Memorial, has created new works for a Manhattan skyscraper and a Chicago project, drawing on her deep connection to nature. The article highlights her latest installations that integrate environmental themes into urban architecture, reflecting her ongoing exploration of landscape and ecology.
Kunstnernes Hus in Oslo presents 'Minga for the Sea,' a major new commission by Chilean artist, poet, and activist Cecilia Vicuña, running from May 29 to August 9, 2026. This is Vicuña's first major presentation in Scandinavia, featuring two large horizontal quipus made from locally sourced raw wool, one dedicated to the Southern Hemisphere/Chile and the other to the Northern Hemisphere/Sápmi. The quipus incorporate contributions from Indigenous and environmental defenders, including poems, drawings, and videos, forming a polyphonic archive of cultural resistance against destructive resource extraction and pollution of marine environments.
Artist Tomás Saraceno has begun construction on "El Santuario del Agua" (The Water Sanctuary), a monumental art complex in the Salinas Grandes salt flats of northern Argentina. Developed in collaboration with 11 Indigenous communities and the Red Atacama coalition, the project consists of five semicircular salt structures inspired by Andean cosmology. Scheduled to open in October, the site will function as a community-owned space where visitors can engage with the landscape through elevated viewing platforms while supporting a sustainable tourism model.
LUCY + JORGE ORTA: FROM ROOT TO RAIN
Lucy and Jorge Orta present their third solo exhibition at Jane Lombard Gallery in New York, titled "From Root to Rain." The show features a diverse range of media, including paintings, embroideries, tapestries, and film, all stemming from over three decades of collaborative research into ecological instability. The works bridge disparate geographic regions, from the Amazon rainforest to the Saudi Arabian desert, translating scientific data and field research into poetic visual forms that address climate change, migration, and environmental resilience.
British artist David Shrigley has opened an exhibition at Stephen Friedman gallery in London featuring approximately ten tonnes of discarded rope, collected from seaports, climbing schools, tree surgeons, and other sources over eight months. The rope is piled in four rooms of the gallery, with a neon sign reading “exhibition of old rope”. Shrigley has priced the installation at £1 million plus VAT, describing the figure as a “provocation” that highlights the gap between art-world valuation and public perception. He acknowledges the work may not sell but insists every artwork needs a price.
The Lost Giants (TLG), an art collective based in Lostwithiel, Cornwall, is reviving the British tradition of making processional giants—large, community-built figures made from wood, cloth, and papier-mâché. Founded three years ago by theatre designer Ruth Webb and her sister-in-law Amy Webb, the group has created giants for events ranging from local lantern parades to a harvest procession at Hauser & Wirth’s Somerset gallery. This New Year’s Eve, environmentalist Lisa Schneidau joined a massive procession of these giants in Lostwithiel, describing it as an extraordinary experience. The collective recently issued a public callout for an environmental group to collaborate on making a new beastie.
Artist Ana Teresa Fernández has launched her solo exhibition "Under Pressure" at the National Museum of Mexican Art in Chicago, presenting a multi-disciplinary call to climate action. The exhibit features oil paintings, sculptures such as a silver-feathered Quetzalcoatl made from a hose, and performance-based works that use metaphors like expanding balloons to illustrate the planet's breaking point. A central component of the project involved a community-led "social monument" at Ohio Street Beach, where hundreds of participants used mirrors to flash an S.O.S. signal in Morse code toward the horizon.
The National Museum of Mexican Art in Chicago is currently hosting "Under Pressure," a solo exhibition by Mexican-born artist Ana Teresa Fernández. The show features a diverse range of media, including oil paintings, sculptures like a silver-feathered Quetzalcoatl made from a hose, and performance-based works that use metaphors like expanding balloons to illustrate the fragility of the environment. A central component of the project involved a community-led "social monument" at Ohio Street Beach, where hundreds of participants used mirrors to signal an S.O.S. in Morse code toward the horizon.
Qualia Contemporary Art in Palo Alto is currently hosting two concurrent exhibitions, "Emergence" and "Tidal Traces," featuring the work of Yulia Pinkusevich, Cathy Lu, and Stella Zhang. The shows explore the four classical elements—fire, earth, air, and water—through a diverse range of media including large-scale ceramic incense sculptures, paintings incorporating charcoal and ash, and mixed-media works inspired by oceanic tides.
Amoureuse des arbres, la sculptrice Lélia Demoisy sublime la nature par l’hybridation
Lélia Demoisy, a French sculptor born in 1991, creates hybrid works that blend wood with animal elements, such as a yew wood sculpture covered in fox fur or a suspended skeleton made from naturally curved thuya branches. She lives in a small village in the Yvelines region, where she works with wood and metal herself, often sourcing materials locally, and recently participated in the Maif pour le vivant committee as the only artist on the jury.
Yasmin Smith, an Australian artist described as an 'archaeological ceramicist,' presents her solo exhibition *Elemental Life* at the Museum of Contemporary Art Australia (MCA) in Sydney, running until June 8. The show features sculptural installations that use ceramics and glaze technologies to decode environmental and human histories. Key works include *Seine River Basin (2019)*, commissioned by the Centre Pompidou, which uses ash-glazed stoneware replicas of tree branches to reflect the chemical history of the River Seine, and *Chicxulub (2025)*, which draws on samples from the asteroid impact crater in Mexico to explore mass extinction. Smith’s practice involves extensive field research and collaboration with ecologists, archaeologists, and local communities, creating site-specific glazes that act as chemical records of place and time.
Artnet Auctions is offering three prints from Andy Warhol's 1986 'Vanishing Animals' series in its Post-War and Contemporary Art sale, alongside a graphite study from his earlier 1983 'Endangered Species' portfolio. The 'Vanishing Animals' series features ten silkscreen prints of endangered species such as the California Condor and Sömmering Gazelle, executed in Warhol's signature style. The sale is open for bidding through November 20, 2025, with estimates ranging from $25,000 to $50,000 per work.
Sebastião Salgado, the legendary Brazilian photographer known for his monumental documentary projects capturing collective humanity and environmental activism, has died. Born in 1944 in Aimorés, Brazil, Salgado studied economics at the University of São Paulo and was exiled to France for political activism before turning to photography in the 1970s. He joined Magnum Photos in 1979 and went on to create epic, multi-year projects such as "Workers" (1986-93), "Migrations" (1993-99), "Genesis" (2005-13), and "Amazônia" (2011-19), which redefined documentary practice through total immersion and scale. His work earned him the Peace Prize of the German Book Trade, a UNICEF Goodwill Ambassador role, and numerous awards including the W. Eugene Smith Grant and the Royal Photographic Society’s Centenary Medal.
A PIONEERING EXHIBITION AT THE MAC IN BARRANCO
The Museum of Contemporary Art (MAC Lima) and the Lima Art Museum (MALI) have launched "Thought is a Hybrid Garden," a comprehensive exhibition spanning six decades of work by Francesco Mariotti and María Luy. The show draws from the Mariotti-Luy Archive and features light installations, acoustic works, and silkscreens that blend technology with Amazonian myths and environmental activism. Curated by Miguel A. López and José-Carlos Mariátegui, the exhibition includes never-before-seen works in Peru, such as the "Hybrid Gardens" series which uses bioluminescence as a metaphor for ecological health.
I dimenticati dell’arte. La storia dell’architetto e scultore Pietro De Laurentiis
The life and legacy of Pietro De Laurentiis, a multifaceted Italian architect, sculptor, and cultural activist, are being rediscovered through a retrospective look at his prolific career. Born into a peasant family in Abruzzo, De Laurentiis rose to prominence in Rome's mid-century art scene, balancing a forty-year teaching career at the Faculty of Architecture with significant public commissions, including bronze panels for the ACEA headquarters and marble works for INPS. His artistic style evolved from rural-inspired figuration to a unique geometric abstraction that blended Cubism with folk traditions.
Sarah Koff, a woodblock printmaker and environmentalist based in New Hampshire, discusses her exhibition “Object Permanence” at AVA Gallery in Lebanon, which runs from July 11 to August 9. Koff, a 2024 Juror Recognition Award winner from the Alliance for the Visual Arts Gallery, creates intricate prints that explore local environmental issues, such as invasive species like Japanese Knotweed and chemical pollution. She describes her slow, tactile process of woodcutting and her commitment to non-toxic printmaking through her work with Zea Mays Printmaking.
Two Indian artists, Manveer Singh (aka Plasticvalla) and Smriti Dixit, are creating artworks from discarded materials to address environmental degradation. Singh transforms multi-layered plastic waste into sculptures inspired by local landscapes and folk traditions, such as a snow leopard for Spiti Valley and a landfill-inspired piece for Delhi. Dixit finds her practice meditative, while other young artists like Anuja Dasgupta and Mrugen Rathod recently exhibited at the 'Sustaina' exhibition using recycled materials like agricultural waste and discarded hotel textiles. Additionally, Tara Lal's Aranyani Pavilion, made from invasive Lantana Camara wood, was displayed at Sunder Nursery to promote forest restoration.
Ceramicists Savannah Jacob and Abby Jo Elle are co-curating "Respect Your Mother," a group exhibition at Patina Gallery dedicated to climate change and environmental activism. Opening in honor of Earth Day, the show features works from over 50 artists across various mediums, including sculptures, collages, and paintings, with a strict prohibition on artificial intelligence to emphasize human-centric craft.
Teen Arts New Jersey has launched "Creative Change Makers," a group exhibition at the Long Branch Arts & Cultural Center featuring works by high school students from across the state. The showcase focuses on the theme of sustainable art, with visual, performing, and literary submissions exploring environmental issues, animal ecosystems, and community health. Selected top performers will receive honorariums during the New Jersey State Teen Arts Festival in June 2026.
Casa Sanlorenzo, a new cultural space in Venice established by yacht builder Sanlorenzo, has opened its inaugural exhibition titled "Breathtaking." The installation by Italian artist and photographer Fabrizio Ferri addresses ocean plastic and microplastic pollution, featuring large-scale portraits of celebrities including Sting, Helena Christensen, Willem Dafoe, Isabella Rossellini, Susan Sarandon, and Naomi Watts, all depicted covered in plastic and debris. At the center of the installation is a glass coffin filled with seawater, symbolizing the fragility of marine ecosystems. The exhibition was previously shown at the Museo di Storia Naturale in Milan, where it attracted over 40,000 visitors in four days.
Glastonbury festival has concluded, and cleanup efforts are underway to address the estimated 4,000 tents left behind, alongside other waste. However, the Shangri-La stage offered a different vision: instead of traditional art installations, it featured allotments, plants, and seeds for festival-goers under the banner of "The Wilding." Creative director Kaye Dunnings led a reset focused on nature, community, and sustainability, with works like Sonic Bloom (a collaboration with charity Sounds Right) and Coral Manton's crop-circle-inspired installation Field Work. Shangri-La also purchased a nearby plot to tend plants for reuse in future festivals, aiming for a sustainable exhibition model.