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This group exhibition, by the artists Rebecca Lennon, Sarah Duffy and Sophie Jung with curator Carolina Ongaro, is like a brimming basket of foraged goods, a container for ever-changing stories
Ettore Spalletti. Courtesy of the artist and Galerie Marian Goodman Paris.
On the opening of his exhibition at the Galerie Marian Goodman, the Italian artist recounts his ritualistic process, the elusiveness of colour and why paintings should be like churches.
Pierre Dubreuil. Interpretation Picasso: The Railway, c1911. Photograph, gelatin silver print on paper, 23.8 x 19.4 cm. Centre Pompidou, Paris Musée national d'art moderne-Centre de création industrielle.
Shape of Light is an exhibition for die-hard art photography enthusiasts. The rest of us will struggle.
Henk Visch’s sculpture Das Kino, part of the public programme, Art Brussels 2018. Photograph: David Plas.
The annual art fair, which this year celebrated it’s 50th anniversary, impressed with its congenial atmosphere, international purview and keenness on curation.
Cedric Morris, c1930 by Sir Cedric Morris. Oil on canvas. © National Portrait Gallery, London. Courtesy the Cedric Morris Estate.
Three exhibitions capture a slice of 20th-century bohemia with portraits of people, places and, most vividly, flowers, by the award-winning artist-plantsman Cedric Morris.
Zuzanna Czebatul. Higher Than the Sun, 2018. Installation view, Koelnmesse trade centre, Art Cologne.
The artist talks about tigers, tarot cards, the vast carpet she made for this year’s Art Cologne and what it means to be the hired critic.
Sanja Iveković. Lady Rosa of Luxemborg, 2001. Sculpture gilded polyester, wood, inkjet print, installation view at the 38th EVA International 2018. Photograph: Deirdre Power, courtesy of the artist.
The curator of this year’s EVA International, Ireland’s biennial, talks about how the country’s history and heritage and, in particular, the forthcoming referendum on abortion have shaped his thinking behind the event.
Mariele Neudecker. There is Always Something More Important, 2012.
Fibreglass, spray, plywood, 2-channel video, two 10.2 inches monitors, 207 x 65 x 440 cm. © Bruno Lopes.
Bristol based artist Mariele Neudecker talks about how Cern inspires her, why you shouldn’t call her a climate change artist and why flight recorders are like the human soul.
Cherry Pickles. Self-Portrait as William S Burroughs, 2014. Oil on canvas, 100 x 80 cm.
The title of the exhibition comes from a statement made in 2013 by Georg Baselitz, the German artist who sometimes hangs his large canvases upside down.
Philip K Smith III, Open Sky, Installation view, Palazzo Isimbardi, Milan. Photograph: Lance Gerber. Courtesy of the artist and Cos.
As he prepares to mount an illusionistic new installation in Milan, the American space and light artist talks time, technology and theatricality.
Wasp, installation view, Hannah Barry Gallery, London, 2018. Photograph: Damian Griffiths.
Taking its name from Andrea Arnold’s award-winning short film Wasp, this group exhibition of 10 female artists is a satisfyingly reflective experience.
Bedwyr Williams. Tyrrau Mawr, 2016. © Bedwyr Williams. Courtesy of the artist.
The Hayward Gallery’s group show suggests future survival will demand that humans adjust to changing circumstances rather than adapting the environment to maintain their current mode of living.
Stanley Whitney: Paintings. Installation view, Galerie Nordenhake, 2018. Courtesy the artist and Galerie Nordenhake Berlin / Stockholm. Photograph: Gerhard Kassner.
Painting is back, and Berlin’s Gallery Weekend proved a great opportunity to survey its return.
Casey Kaplan's booth at the Dallas Art Fair which featured works by Giorgio Griffa and Matthew Ronay.  Photograph: Daniel Driensky.
The 10th edition of the major art showcase was an affirmation of the city’s commitment to visual culture.
Paul Maheke. Seeking After the Fully Grown Dancer *deep within* (2016). Blackwood Gallery, Toronto, 2017. Courtesy of the artist. Photograph: Henry Chan.
Through installation, sound, film and dance, Paul Maheke's work explores gender and racial stereotypes, articulating the restrictions placed around black, male and queer identities. For his first major solo show, at the Chisenhale Gallery, he has stepped out of the central performing role and brought in three female artists to expand this dialogue. He talks about the origins and expression of the resulting work, A Fire Circle for a Public Hearing.
Joan Jonas. They Come to Us without a Word II, 2015. Performance at Teatro Piccolo Arsenale, Venice, Italy, 2015. Photo by Moira Ricci. © 2018 Joan Jonas : Artists Rights Society (ARS), New York : DACS, London.
Joan Jonas talks about her multidisciplinary installation works currently on show at Tate Modern and the live performances undertaken for the 2018 Tate Live Exhibition: Ten Days Six Nights programme.
Earrings made from heads of Red Legged Honeycreeper birds, c1875. © Victorian and Albert Museum, London.
As environmental changes affect more areas of the world, our lifestyles need to be more sustainable. Looking back over 400 years of fashion history, Fashioned from Nature asks what humans have done wrong and how we can innovate to improve.
Nancy Fouts. Foosball Madonna Table, 2016. Wood and oil paint, 71 x 90 x 48 cm. © Nancy Fouts, Courtesy of Flowers Gallery.
Nancy Fouts brings her trademark baroque theatricality, dada mischief and love of a good pun to Flowers Gallery in London with a decade’s worth of visual treats.
David Hockney. Tall Dutch Trees After Hobbema (Useful Knowledge), 2017. Acrylic on six canvases (two canvases: 36 x 36 in, four joined canvases: 24 x 48 in) overall installation dimensions 64 x 144 in (162.6 cm x 365.8 cm). Photograph courtesy Pace Gallery. © 2018 David Hockney.
Coming off Hockney’s stunning retrospective at the Metropolitan Museum of Art celebrating his 80th birthday, this new body of work proposes to resolve the artist’s lifetime pursuit of accurate perspective with a radical new way to authentically see.
José Parlá in residence at Landmarks, the public art programme of The University of Texas at Austin, 2017. Photograph: Rey Parlá.
For his most ambitious project to date, commissioned by the Landmarks public art programme at the University of Texas at Austin, Parlá transforms a 4,000-sq-foot site into a panoramic landscape evocative of Austin’s natural and urban environment.
E.E.Cummings. Sound, 1919. Oil on canvas, 89.2 x 88.9 cm. Metropolitan Museum of Art, New York. © The Estate of E.E.Cummings.
As the US charged headlong into the 20th century, as its cities grew skywards and consumerism began to bubble up like the champagne at Jay Gatsby’s parties, some of modernism’s biggest names stood back and took stock. And the world they depicted was a surprisingly silent one.
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