Michael Klug launched Whitewall in March 2006, at a moment when the art world and the luxury industry were beginning to orbit each other with increasing intensity but no publication existed to map the convergence. Based in New York and published quarterly, the magazine set out to do something specific: go beyond the gallery walls — the literal white walls of the title — to reveal the people, ideas, and economies that shape contemporary art and the lifestyle that surrounds it.
Under the editorial guidance of Klug and publisher Laurent Moïsi, Whitewall has built a reputation for access. The magazine's interviews and profiles bring readers into the studios and homes of artists, gallerists, designers, and collectors with the kind of intimacy that press releases cannot manufacture. A conversation with Tracey Emin might veer from oyster consumption to Damien Hirst to a classified ad that launched an American career. A feature on luxury-art collaborations might trace the line from Murakami's Louis Vuitton monogram to JR's transformation of a Venice Simplon-Orient-Express car into a moving canvas.
Editorially, Whitewall operates at the intersection of four worlds — art, fashion, design, and travel — and does so without pretending they are separate. Coverage ranges from Art Basel Hong Kong booth guides and Frieze Los Angeles gallery roundups to profiles of emerging designers and luxury hotel openings. The photography is high-end and commissioned, the writing long-form and opinionated, the advertising unapologetically upscale. This is a magazine for people who collect art and care about the conversation around it.
Nearly two decades in, Whitewall has maintained its independence while expanding its digital platform. The magazine's long-standing media partnership with VOLTA art fairs reflects a shared commitment to discovery and quality over spectacle. For readers who want their art coverage with a sense of occasion — and who understand that the worlds of creativity, commerce, and luxury have always been more entangled than the purists like to admit — Whitewall remains the quarterly that takes that entanglement seriously.
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