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Convergent Worlds

Convergent Worlds has been curated to mark the 20th anniversary of the Drill Hall Gallery. Situated ...

Alan Robb

Aesthetic and intellectual clarity defines the painting of Alan Robb, who lives in Newport-on-Tay in...

A Delicate Game of Cat-and-Mouse

Interviews with Artists 1966-2012 by Michael Peppiatt. Yale University Press, 2012. The experience o...

Bauhaus: Art as Life

In the Forward to the current Barbican exhibition catalogue Bauhaus: Art as Life, an obligatory cred...

A Redefining Moment in the History of Native American Art

Changing Hands: Art Without Reservation 3, Contemporary Native North American Art from the Northeast...

A festival for our time: dOCUMENTA 13

Faces press against the glass wall of a rotunda in one of the world’s oldest museums: the Neo-Clas...

Anri Sala

This summer, Anri Sala is the focus of the Pompidou’s efforts to celebrate the work of current Fre...

Celia Scott, In Conversation

at Eleven Spitalfields Gallery, London, Wednesday 16 May 2012...

Between Embodiment and Identity

Beginning with a large glass display case, diagrams and drawings of body parts alongside plastic rep...

A Fitting Coda to a Culture-Bridging Career. An interview with Joe Earle o...

In September 2007, Joe Earle joined Japan Society in New York as vice-president and director of the ...

Alan Davie: Works on paper

When a black mark is placed on a white paper, both paper and pigment immediately become transformed....

Contact Us

Studio International is published by the Studio International Foundation, PO Box 1545, New York, NY ...

Carlos Amorales: La Lange des Morts

In the Parisian springtime, an exhibition about death, and its symbolic representation, seems at fir...

Alvar Aalto and the Sustainable Nordic House

45 years ago, Alvar Aalto was commissioned by the Nordic Council of Ministers to design the Nordic H...

A Casual and Purposeful Art. The Radical Camera: New York

An effort to counter historical myopia...

Boris Mikhailov: Triptychs

Boris Mikhailov...

A Walk Down One Fashion Magazine

Fashion appears to be a momentary phenomenon. With a click of the shutter, the moment is gone and th...

Cézanne and Paris

Paul Cézanne was a man of contradictions. As an artist he took an unconventional approach to drawin...

Celebrating Life at The Chelsea Hotel with Painter David Remfry

British-born painter David Remfry is one of the last holdouts at the legendary Chelsea Hotel in Manh...

Building The Revolution: Soviet Art and Architecture 1915-1935

The arrival point at the Royal Academy Courtyard off Piccadilly, first glimpsed through the Classica...

Can Architects Draw? Architects Sketchbooks

This extensive compendium reaches for a definition of this fundamental process and mental tool avail...

Antony Gormley

Sculpture studios are particularly fascinating places: factory-like yet traditional in terms of mate...

Andrew Antoniou: Theatre of Chance and Enchantment

Andrew Antoniou's recent exhibition at Australian Galleries, Sydney shows his enduring fascination w...

Colour and Substance

Bermondsey Street these days exudes a growing calm satisfaction: a local Tate, its own “village fe...

A Futuristic Architectural Movement from the Past Speaks to the Present

At a critical moment in urban architectural history, the Mori Art Museum in Tokyo considers the dist...

Barry Flanagan: Early Works 1965

Sculptor Barry Flanagan (1941...

Abstraction and Atonality: Wassily Kandinsky, Franti

František Kupka (1871–1957) is generally recognised to be the best-known Czech artist from the 20...

Arctic dreams and climate change. High Arctic: Matt Clark (UVA) and Cape F...

While the Arctic affords us an intense phenomenological experience, the eroded condition of its glac...

Alvar Aalto Library In Vyborg: Saving A Modern Masterpiece

The finale to the long-running course of action to save this historic modernist masterpiece did not ...

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Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA