49 Posters by Christopher Doyle & Co features ten years of “curious and beautiful” projects by the Sydney-based studio, focusing particularly on its wealth of work for the cultural sphere
Pentagram partner Eddie Opara and his team have worked on the design for new book Dawoud Bey: Two American Projects, which features the photographer’s conceptual images of collective memory
South Korean illustrator Henn Kim’s hauntingly beautiful artworks have made her an Instagram sensation, earning her commissions from everyone from Unicef to Sally Rooney in the process. Here, she discusses the value of using creativity as an emotional release
In the latest release from Hoxton Mini Press, photographer Orlando Gili explores English identity in a post-Brexit world via their obsession with organised fun – from pub crawls to cheese rolling and more
With summer holiday options severely straitened this year, it may be better to just travel in your mind, says a new ad from audiobook firm Audible
Barcelona-based agency Vasava takes a trip down memory lane by reimagining classic children’s book covers in a bid to encourage a new generation of readers
Between 1997 and 2002, Justine Kurland travelled across the North American wilderness, capturing teenage girls in a series of staged images that express freedom and a new kind of utopia. She looks back on the project’s significance here
As part of our 40th birthday celebrations, CR is revisiting the alumni from our Creative Futures scheme, which ran for nearly 30 years. Here, we chat with designer David Pearson, an alumnus featured on Creative Futures back in 2005
Over the past 40 years, Creative Review has had 452 different covers. As part of our 40th birthday coverage, CR art director Paul Pensom chose ten of his favourites from the archive
Our annual showcase of the best graduate work is just around the corner, and we’re open for submissions. Plus, for the first time, Gradwatch is open to graduates based around the world
For most of history, mainstream culture has been dominated by a white perspective, with our view of the world shaped by white eyes. But for the first time that perspective is unravelling, as examined here by Alex Bennett Grant and Mark Lester of Amsterdam-based agency We Are Pi
Pulitzer Prize-winning cartoonist Barry Blitt talks to CR about the pressures of creating New Yorker covers and why he prefers a quiet life in Connecticut