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David Hockney. In the Studio, December 2017, 2017 (detail). 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
Helen and Kate Storey: Neurogenesis: from neuron birth to all that we are, 2018, installation view. Photograph: Erika Stevenson.
An interdisciplinary and collaborative exhibition that fuses art, fashion and cell imaging to share fascinating scientific insights into what it means to be human.
Creativity and Collaboration: Revisiting Cybernetic Serendipity, National Academy of Sciences, Washington DC, 2018.
The two-day colloquium Creativity and Collaboration: Revisiting Cybernetic Serendipity, which explored how a combination of art, design, science, engineering and medical research can yield productive partnerships, was preceded by a one-day symposium where students from a wide range of disciplines presented their work.
John Walter. The Shonky Bar. Photograph: Ruth Clark.
Guest curated by John Walter, as part of the Hayward Gallery’s Touring Curatorial Open, this vibrant and subversive group show is kaleidoscopic and entertaining, as well as intellectually stimulating.
Cécile B. Evans. Amos’ World, 2017: Episode One. Exhibition view, mumok, 2018. © mumok. Photograph: Klaus Pichler.
Cecile B Evans’s video transports us into the surreal world of an architect who believes he can build both a housing complex and a social structure. And by forcing viewers to watch from a dark cubbyhole, she draws us visually and physically into his world.
Lee Lozano. No title, 1964. © The Estate of Lee Lozano. Courtesy Hauser & Wirth.
A major figure on the New York art scene of the 1960s and early 70s, Lozano is not so well known these days. This new exhibition at the Fruitmarket Gallery in Edinburgh – featuring expressive and fascinating paintings, drawings and ‘language pieces’ – aims to change that.
Dawn Mellor. Detective Superintendent Ellie Miller (Olivia Colman), 2016. Oil on canvas, 30 x 24 in. © the artist.
The artist best-known for her parodic portraits of celebrities talks about taking a year of from painting, exploring social media and satirising identity politics.
Chiahru Shiota in the chapel at Yorkshire Sculpture Park. Photograph: Veronica Simpson.
Using 2,000 balls of thread, Chiharu Shiota’s installation of white woollen webbing in the chapel at Yorkshire Sculpture Park drifts up from floor to ceiling, twisting around and drawing you in to the spirit of the place.
Current day Sainsbury Centre, 2009. Photograph: © Sainsbury Centre, Pete
Huggins.
Forty years after it opened, the Sainsbury Centre plays host to an exhibition looking at the pioneering designs of architects such as Norman Foster and Richard Rogers in the latter half of the last century.
Japanese dancer Masako Ono of Odissi dance form. Photograph: Jill Spalding.
Committed to placing this marginalised sector of India in the light once again, film-maker Sarah Singh has given Punjab its first international arts festival, a phoenix of contemporary and traditional creative expression, arisen in Patiala in front of the mighty Qila Mubarak to jumpstart a new dialogue between its warrior-arts past and socially driven cultural future.
Cecil Beaton. Pablo Picasso, rue La Boétie, 1933, Paris. © The Cecil Beaton Studio Archive at Sotheby’s
Despite passages of naked voyeurism, the Tate’s blockbuster intoxicates with passion, power and the pleasure of unbound creativity.
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.
Miguel Chevalier talking to Studio International in his Paris studio, February 2018. Photograph: Martin Kennedy.
Ahead of two simultaneous solo shows in London, pioneering computer artist Miguel Chevalier invited Studio International into his Paris studio to discuss his interest in making the real virtual and the virtual real.
Andrzej Wróblewski. (Self-Portrait in Red), undated. Watercolour and gouache on paper, 29.5 x 41.7 cm. Private Collection. © Andrzej Wróblewski Foundation.
The spectre of conflict haunts the powerfully enigmatic oeuvre of one of Poland’s pre-eminent postwar artists, at long last the subject of a solo exhibition in the UK.
Paul Brown. Gymnasts, 1997. Giclée print, 31.5 x 23.62 in. © the artist.
These radical works by Paul Brown highlight the wonders of computer programming in the realm of art-making.
Sofia Borges. Yellow Chalk, 2017. Pigmented inkjet print, 90 9/16 × 59 1/16 in (230 × 150 cm). The Museum of Modern Art, New York. Fund for the Twenty-First Century. © 2018 Sofia Borges.
Iteration 2018 of MoMA’s biennial sampling of what’s trending in photography rethinks both the meaning of what it is to be human and the essential nature of the medium itself.
Marino Marini. Fondazione Marini Marini.
At the home of his iconic equestrian sculpture, The Angel of the City, this retrospective of the Italian sculptor Marino Marini explores the breadth of his practice and range of his influences.
Lilah Fowler. nth nature, 2018. Installation view. Image courtesy of Lilah Fowler and Assembly Point.
The exhibition nth nature, a new body of work by Lilah Fowler, explores feelings of transience and dissociation in response to increasingly pervasive networks of global transport and communication.
Ingela Ihrman. The Giant Hogweed, 2016. Paper, reed, glue, textile, spray paint, plastic, nylon string, ratchet strap. Courtesy Cooper Gallery, DJCAD and Ingela Ihrman.
The Swedish artist’s works and her theatrical pieces – which include a giant hogweed, a giant otter giving birth and a toad doing gymnastics – make us look at the human race’s relationship with the natural world and the effects our interactions have.
Jedd Novatt with Chaos SAS, 2013. Stainless steel, 440 x 420 x 265 cm. Permanent installation at Pérez Art Museum, Miami.
In advance of an exhibition of new works, Novatt talks about his long career making geometric sculptures in industrial metals and discusses the thinking behind them.
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