This exhibition tells the story of the birth of photography, exploring the vision of the Victorian inventor William Henry Fox Talbot, alongside those of his contemporaries in France, such as painter and set designer Louis-Jacques-Mandé Daguerre.
Studio International visited the artist in her studio in south-east London to talk to her about her work A Restoration, made for the Ashmolean Museum in Oxford.
The artist talks about duration, place and history in his practice, and how he sees his way of working as archaeological research rather than a production process.
The Los Angeles-based artist talks about semiotics, funkadelic Afrofuturism, and how to create a 90-minute feature-length film out of 180 30-second clips.
The artist talks about the ideas behind her latest film project, A Room With Your Views, which brings together footage from around the world and will be premiered at Brighton Festival.
The artist talks about his show at Exeter Phoenix, collaborating with local artists, the importance of music in his work, and whether the physical informs the virtual, or the other way around.
Bosco Sodi talks about the two processes in his work: the one where he is in control and the one where he lets go and waits for the surprise of the outcome.
Two exhibitions, at London’s Mayor Gallery and Annely Juda Fine Art, mark the 90th birthday of one of the leading figures of postwar European art, who once described himself as the ‘monstrous son of Mondrian and Picabia’.
Hannes Koch of Random International talks about the collective’s latest project, producing a kinetic artwork consisting of 15 points of light, recognisable almost instantaneously as the human form.
Paris is, as ever, a cauldron of art, but one breakout exhibition, expertly curated to challenge the old rules of staging, stirs the imagination, quickens the eye and gladdens the soul.
With her largest UK show to date currently on at the Lowry, the artist talks about the relationship with heavenly bodies and the wider cosmos, her graveyard of stars and sending her work into space.
The post-conceptual artist talks about his hometown, studying with John Baldessari at California Institute of the Arts, and a missed encounter with John Cage.
For his second exhibition at Sadie Coles, the young American artist eschews canvas and paper, drawing attention instead to the material properties of paint, and producing a dazzling feast of vibrant colour and captured movement.
With a wit all of his own Heath Robinson captured everything from the sublime to the ridiculous, and in doing so became one of the most versatile illustrators of the 20th century.
From a shiny Jaguar E-Type, explosions of colour and a trip through a more muted palette, MoMA has served up the 60s as a tasty new dish, charting the era’s subversive investigations into traditional form, media and design.
The painter’s uncanny worlds reflect the post-9/11 zeitgeist with a beguiling charm. The world is a fragile, unsettling place, he says, and it’s difficult not to respond to that.
The Russian immigrant artists talk about the difference between art education in the former Soviet Union and in the United States and the importance of using materials as expressive means in their work.
Controlled but creative, formulaic but somehow free, hypnotic in their undulation and unique in their variation, the graph-paper paintings of the late Californian artist demonstrate the infinite possibilities of line and colour.
In his third solo exhibition at the Lisson Gallery, Finch attempts to take visitors beyond the limits of natural vision and into a parallel reality occupied by insects, GPS equipment and Martian light.
Despite the urban construction materials, the steel bars and concrete slabs, there is a strong sense that the viewer must ‘read’ Michael Dean’s sculptures in order to make sense of them.
This exhibition looks at work the artist produced from 1958 to 1970, a time when he reconsidered the premise of art and art-making.
His voice is singular, his pieces united in simplicity: painted columnar forms that point to classical structures, and monochromatic paintings that favour traditional Italian painting.
This major exhibition, the artists first major solo show at White Cube, includes new large-scale paintings, sculpture and works on paper.
There were dogs, a screaming blow-up baby and a real donkey, but there were also museum-quality installations and small joys to be had at the New York art fair’s fifth incarnation.
The multimedia artist talks about constructing the self through the language of clothing.
Benson fuses art and science to conjure spectacular images from raw data collected by Nasa and ESA. Here he talks about science fiction, climate change and his exhibition at London’s Natural History Museum.
For this citywide event, curator Martin Clark aims to inspire a connection between different parts of Sheffield in an event that revolves entirely around sound and video art. Studio International spoke to him and some of the artists involved.
The biennial festival returns for its seventh edition with more than 220 contemporary artists from all over the world. This ambitious collection includes new works, site-specific commissions and new venues throughout the city.
The artist talks about her recent return to making portraits of others, and explains what she sees as a balancing act between the tools that go to make up the language of a painting.
The New York-based designer talks about designing $10,000 dresses, his aversion to using animal materials, and his experiences of the New York fashion scene in the 1990s.