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After more than two years and a $12m makeover by architects David Gauld with Arata Isozaki, the Miami Beach museum of art has opened its doors once again. It’s more spacious and welcoming and has some ambitious work on show
Jeanne Mammen. Self-Portrait, c1926. Watercolour on paper, 32 x 22.8 cm. Jeanne-Mammen-Foundation, © VG Bild-Kunst, Bonn 2017, Repro: © Mathias Schormann.
Mammen wanted to be “a pair of eyes, walking through the world unseen, only to be able to see others”. This retrospective, although stretching beyond the best period of her observational work in the Berlin of the 20s, offers visitors a chance to see through her eyes.
Modigliani in his studio, photograph by Paul Guillaume, c1915. © RMN-Grand Palais (musée de l’Orangerie) I Archives Alain Bouret, image Dominique Couto.
This extraordinary retrospective unites Modigliani’s portraits and sculpture with the largest collection of his nude paintings ever shown together in the UK, as well as allowing visitors a virtual reality tour of the artist’s Paris studio.
Carmen Herrera. Pavanne, 1967/2017. 274.3 x 274.3 x 182.9 cm (108 x 108 x 72 in). © Carmen Herrera; Courtesy Lisson Gallery.
Herrera’s abstract, geometric paintings pulse with life in this solo show. She was discovered late – she sold her first painting in 2004, at the age of 89 – and her work has a concentrated intensity that speaks of many decades of quiet, unsung dedication.
Calum Colvin. Studio installation.
The president of the Royal Scottish Academy discusses Ages of Wonder: Scotland’s Art 1540 to Now, an ambitious and exciting exhibition that was more than three years in the making.
Zoe Buckman. Champ, 2016. Neon, glass, leather, 30 x 18 x 10 in. Courtesy the artist and 21c Museum.
The London-born, New York-based artist known for incorporating highly personal motifs, such as embroidered underwear, in her work, discusses feminism and the role women play within her art.
Vanessa Baird with Grand Hotel mural, Oslo. Photograph: Veronica Simpson.
Vanessa Baird’s vivid, illustrative pastels depicting domestic chaos and drowning refugees make for an immersive experience in her new solo show, You Are Something Else, at Oslo’s Kunstnernes Hus. This and other new public commissions in Oslo indicate an artist coming into her prime.
Maria Alyokhina, a member of the activist art collective Pussy Riot, talks to Studio International about Art Riot at the Saatchi Gallery, London, 15 November 2017. Photograph: William Kennedy.
Political activist and Pussy Riot member Maria Alyokhina talks to Studio International at the Saatchi Gallery about fighting government propaganda and the support the group receives from fellow artists.
Dan Colen, Sweet Liberty Gallery 2. Photograph: Prudence Cumings Associates. Copyright by Dan Colen and Victor Mara Ltd.
From glass whoopee cushions to a vast US flag to cartoon characters, Colen’s works, which use everything from chewing gum to cigarette butts and plastic bottles, are ambitious in scale, colourful, bombastic and highly varied.
Stan Douglas. Mare Street, 2017 (detail). C-print on dibond, print size 180 x 300 cm. © Stan Douglas. Courtesy the artist and Victoria Miro, London.
Photographer and film artist Stan Douglas talks about his new works, which extend his interest in historical moments of rupture to the 2011 London riots.
Alina Szapocznikow with her work Naga (Naked), 1961. © ADAGP, Paris 2017 Courtesy of the Alina Szapocznikow Archive, Piotr Stanislawski and the National Museum in Krakow. Photograph: Marek Holzman, courtesy of the Museum of Modern Art, Warsaw.
A superlative exhibition at the Hepworth Wakefield unpacks the fleshly and sticky oeuvre of forgotten postwar great Alina Szapocznikow.
Sam Gilliam. After Micro W #2, 1982. Acrylic on polyester, 114.3 x 172 x 22.9 cm. Private collection, Europe.
Art critic Clement Greenberg coined the term ‘post-painterly abstraction’ to describe the work of the five artists in this exhibition – Morris Louis, Ed Clark, Sam Gilliam, Frank Bowling and Kenneth Noland – yet, until recently, many of them haven’t received the recognition they deserve.
Nnenna Okore. Photograph: Jonathan Greet.
Okore’s sculptures are poetic odes to the natural world. But beneath the delicate beauty there lies a pervading tension. She talks about how life and death in the natural world informs her practice.
Louisa Fairclough. A Rose, 2017. 1 x 16mm film looped (colour, silent, 9 min) projected onto a suspended acrylic screen, 1 x performance for a field recording pressed onto dubplate vinyl (20 min). Installation view: A Song cycle for the Ruins of a Psychiatric Unit, Danielle Arnaud Gallery, 2017. Photograph: Oskar Proctor. Courtesy the artist and Danielle Arnaud.
At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruins of a Psychiatric Unit uses a derelict mental hospital as metaphor for the turmoil of psychological trauma.
Neha Choksi. Video still from Faith in friction, 2017. 7-channel 4K video installation transferred to HD, each channel with stereo sound, 36 min loop. Courtesy the artist and Project 88.
Through her latest work, a multichannel video installation entitled Faith in friction that features Choksi and her friends, the artist considers how the self is necessarily formed through engagement with others.
Harold Steggles. St Mark’s Church, Victoria Park, 1934. Oil on board, 61 x 55 cm. Private collection, © the artist’s estate.
In the mid-20s, a group of largely working-class men came together in the East End of London and began to paint under the tutelage of John Cooper, finding fame for their realistic depiction of urban life. After 80 years in the wilderness, two exhibitions aim to revive their reputation.
Giacomo Balla (1871-1958). Tick Tack N. 40, c1929. Oil on canvas, 77 x 77 cm. Courtesy Mazzoleni.
The latest in Mazzoleni’s series of exhibitions devoted to 20th-century Italian art enacts a vivid circular dialogue between select works by Giacomo Balla, Piero Dorazio and Gianfranco Zappettini.
Doug Aitken. Migration (empire), 2008. Video installation with one channel of video (colour, sound), one projection, steel and PVC screen billboard sculpture, 24:28 minutes/loop, dimensions variable. Production still. Courtesy of the artist; 303 Gallery, New York; Galerie Eva Presenhuber, Zürich; Victoria Miro Gallery, London; and Regen Projects, Los Angeles.
An exhibition of works by a group of international artists, Future Shock looks at the profound impact of technological and social change on our present and our future.
Claude Monet. Houses of Parliament, Sunlight Effect, 1903. Oil paint on canvas, 104.8 x 115.6 cm. Brooklyn Museum of Art.
This exhibition lacks coherence and has little to say about the influence British artists had on the French impressionists, but is redeemed by paintings of the Thames, the highlight of which are eight works by Claude Monet.
Tove Jansson. Self-Portrait, 1975. Oil, 65 x 47 cm. Private collection. Photograph: Finnish National Gallery / Yehia Eweis.
Studio International visited the Dulwich Picture Gallery to view the Finnish artist Tove Jansson’s first retrospective exhibition in the UK. She is well-known as the creator of the Moomins, but as this major retrospective makes clear, Jansson’s work encompasses many creative disciplines.
Grace Weir. Credit Unfolded, Laure Genillard, 2017. Installation view.
In Irish film artist Grace Weir’s latest exhibition, Unfolded, past and present, the real and representational repeatedly elide. Here, Weir talks about her work and about challenging notions of fixity in art, physics and philosophy.
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