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Rezi van Lankveld: ‘I pour paint to make a “happening” in the painting’

The Dutch painter explains how her attitude to painting has changed and talks about her recent paintings, now on show at New York’s Petzel Gallery, which reveal a new focus on colour

Studio International Special Centenary Number, Vol 201 No 1022/1023, page 12. Charles Francis Annesley Voysey (1857-1941), Tulips, c1888 (detail). Design for printed velveteen, 80 x 40 cm. © Studio International.
The originators of The Studio, from its inception, were keenly aware that the recently consummated marriage between the Fine Arts and the Crafts would be central to their own outlook. The formal rites and tussles of that marriage had much occupied and challenged the world of Art for the past decade both in England and America, and would continue to repercuss for many years to come.
Harry Shunk and János Kender, photograph of Yves Klein, The Dream of Fire, c1961. Artistic action by Yves Klein © Yves Klein, ADAGP, Paris / DACS, London, 2017. Collaboration Harry Shunk and János Kender. Photograph: Shunk-Kender © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2014.R.20)
The alchemical French artist’s first UK retrospective in two decades reaffirms the cosmic wonder of his oeuvre.
The Studio, Volume 1, Number 1, April 1893. Cover illustration by Aubrey Beardsley.
In April 1893 a new art magazine entitled The Studio appeared in British newsagents. Subtitled an Illustrated Magazine of Fine and Applied Art and costing sixpence, it rapidly established itself as one of the most enduring and successful art periodicals in the English-speaking world.
Julian Rosefeldt. Manifesto at Park Avenue Armory, New York City. Installation view. Photograph: James Ewing.
This superb cinematic production, in which Cate Blanchett brilliantly conjures 13 varying personas, takes us on a rapid tour through 20th-century avant-garde culture.
Gerasimos Floratos. TS Post-Up, 2016. Oil and acrylic on canvas, 172.7 x 243.8 cm (68 x 96 in). Photograph: Martin Parsekian. Courtesy: the artist and Pilar Corrias Gallery, London.
Gerasimos Floratos’s expressive paintings combine shapes and colour from his daily life in New York City, communicating his thoughts and interactions through characters painted in liquid colour.
Caragh Thuring. Photograph: Alison Goldfrapp.
The Brussels-born artist discusses reconstructing old paintings as tapestries to create new work, why she uses figures from adverts, and her love of bricks.
Kerry James Marshall. A Portrait of the Artist as a Shadow of His Former Self, 1980. Egg tempera on paper, 8 × 6 1/2 in (20.3 × 16.5 cm). Steven and Deborah Lebowitz.
Taking over two floors of the Met Breuer, this stunning career retrospective insinuates the African American narrative into the received history of art through a heroic investigation into the metaphorical, cultural and aesthetic implications of extreme blackness.
Frank Stella. Feneralia, 1995. From the Imaginary places series 1994‑97. Colour stencil, lithograph, etching, aquatint, relief, collagraph. National Gallery of Australia, Canberra. Gift of Kenneth Tyler, 2002.
Focusing on the rich seam of Stella’s prints, this show gives an insight into the remarkable collaboration between Stella and Tyler, in which anything was possible.
Bloomberg New Contemporaries 2016, Institute of Contemporary Arts, London, 23 November 2016 - 22 January 2017.
Since 1949 New Contemporaries has hand-picked graduate and emerging artists to present them to the public as the rising stars of the art world. Studio International visited the touring exhibition on its opening night at the Institute of Contemporary Arts in London to speak to some of this year’s artists.
John Currin. Red Shoe, 2016. Oil on canvas, 188 x 111.8 x 3.4 cm. Copyright the Artist, Courtesy Sadie Coles HQ, London.
In five new works at Sadie Coles HQ, the controversial American painter clothes the history of art in vulgarity.
Wendy Elia. Maxime, 2010. Oil on canvas, 166 x 91 cm. Courtesy East Contemporary Art Collection, University of Sussex. Photograph: Mac Campeanu
To mark the 25th anniversary of Carter’s death, this exhibition brings together works that influenced the writer and works inspired by her, creating a visceral, violent and, at times, unpalatable celebration of magic realism and fairyland pornography.
Pierre Bonnard. Les chapeaux rouges (The red hats), 1894. Oil on canvas, 28 x 33 cm. Private collection. © Adagp, Paris 2016. © Claude Almodovar.
This is an exhibition focusing on intimacy, which conjures just that in its thorough, yet tender, exploration of the people, objects and places close to the artist’s heart.
Aki Sasamoto. Random memo random, 2016. Installation with performance and video documentation, dimensions variable. On display at the Kochi-Muziris Biennale 2016. Photograph: Sheena Dabholkar.
New York-based performance artist Aki Sasamoto has a tendency to speak entirely in metaphor, sit in abstraction for hours, and mark her responses with a small question at the end: No? She asks, smiling. As though everything, at all times, may be overturned.
Hedy Ritterman speaking at the exhibition opening for One man in his time, Jewish Museum of Australia 2016-2017.
Ritterman talks about how her current exhibition, which includes more than 700 of her late husband’s possessions, helped her come to terms with his death, and how she has conflated traditional Jewish mourning with her own personal version.
Hugo McCloud. behind it all I stood tall, 2016. Aluminum foil, aluminum coating and oil paint on tar paper, 97 7/8 x 79 in (248.6 x 200.7 cm). © Hugo McCloud, courtesy: Sean Kelly, New York.
The emerging artist Hugo McCloud, whose layered abstract paintings concentrate on process and material, talks about his second solo show in New York.
Tom Roberts. A Break Away!, 1891. Oil on canvas, 137.3 x 167.8 cm. Art Gallery of South Australia, Adelaide. Elder Bequest Fund 1899. © Art Gallery of South Australia, Adelaide.
This exhibition highlights the paintings of four artists working at a crucial turning point in Australian history.
Richard Aldrich. Future Portrait #49, 2003. Acrylic on panel ,30.5 x 30.5 cm. © Richard Aldrich, 2003. Image courtesy of the Saatchi Gallery, London.
There is a quiet revolution happening in paint. But, paradoxically, Painters’ Painters seems out to prove otherwise.
Paul de Monchaux. Volute IV, 2016. Bronze, 68 x 72 x 72 cm (26.7 x 28.3 x 28.3 in), edition of seven.
In only his second solo show, the 82-year-old artist explores the potential of the column as a site for improvisation and movement.
Robert Rauschenberg. Monogram, 1955-59. Oil paint on taxidermied angora goat and rubber tire, on oil paint on paper, fabric printed paper, printed reproductions, metal, wood, rubber shoe heel, and tennis ball on canvas on wood platform mounted on four casters, 129 x 186 x 186 cm. Moderna Museet, Stockholm. Photograph: Martin Kennedy.
This exhibition, the first full-scale retrospective of Rauschenberg’s work since his death in 2008, takes us on a tour of a singly irrepressible spirit whose work knew no boundaries.
Tom McKinley. Morington Gardens House, 2016. Oil on panel, 43 x 77 in. Photograph: Jill Spalding.
Palpable relief that the sky was not falling in freed this year’s 78,000 fairgoers to act out Tom McKinley’s masterful triptych titled Complex Human Desires.
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