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Ansel Adams at 100

Ansel Adams' images are as fundamental to the narrative of the American West as the ...

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William Eggleston

After the lyrical and mythic Ansel Adams, the photographs of William Eggleston are l...

Braun AG Headquarters, Melsungen, Germany

In 2002 this famous project stands complete as perhaps the final masterpiece of the ...

The Banksias: Watercolours

The Banksias: Watercolours, by Celia Rosser at the State Library of Victoria, Melbou...

Mirror, mirror

No single model of self-portraiture can stand for the experiences of women generally...

Skythian baba: A painting counter-revolution

Natalia Goncharova, one of the famous originators of Russian avant-garde, is now the subject of a...

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The Blackest Square

The fourth 'Black Square' by Kazimir Malevich belonging to Inkombank, which collapse...

Paul Klee: The Nature of Creation

In vast contrast to Tate Modern’s Warhol exhibition earlier this year, the Picasso...

Brit Art from the Fifties: the reality versus the myth

Just after the war, when France had Picasso and Matisse, Giacometti and Existentiali...

Peter Doig 100 years ago

'100 Years Ago' is the name of Peter Doig's current show, the first in London since his Whitecha...

Return of the Buddha: The Qingzhou Discoveries

In 1996, while levelling the sports field of the Shefan primary school in Qingzhou, ...

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Mother and child divided

Professor Gunther von Hagens' 'Korperwelten (Body Worlds): Fascination Beneath the Surface' is at th...

Gerhard Richter: Forty years of painting

The enigma of the German painter Gerhard Richter (b.1932) is finally explored through Robert Storr's...

Richard Demarco's Edinburgh

Edinburgh belongs to a special kind of city deserving of the UNESCO designation as a...

Letter from Poland

Depart Edinburgh Airport BA 1435 at 7.40 am arriving Heathrow 09.15 am....

Letter from Sydney

The year 2000 in Sydney was a hard act to follow. Every cynic - and there were many ...

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The authentic and the twitch

Increasingly, we now seek to verify what is presented as 'real': we are wary of 'sim...

Will Maclean: Driftworks

Will Maclean’s exhibition, ‘Driftworks’ at Dundee Contemporary Arts (24 November 2001 – 3 Fe...

Letter from Shanghai

Ever since the Treaty of Nangking opened Shanghai to foreign trade in 1842, the city...

Frank Auerbach

Frank Auerbach's career is celebrated at the Royal Academy in all the ways in which this institution...

Frank Auerbach: Paintings and Drawings 1954-2001

The paintings on show at the RA have an effect that it would have been impossible to anticipate; the...

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Michael Andrews revisited

If there was ever a clearer purpose and definition of the respective rationale behind the division o...

Letter from Stockholm, September 2001

The newly opened memorial for Raoul Wallenberg (1912-1947) is a significant event in Stockholm...

Patrick Heron: the growing legacy of genius

The work of Patrick Heron is bound up with what is probably the most crucial series of events in...

Ken Kiff: obituary

The world of the imagination, like that of the dream has attracted many twentieth century artists, f...

Apocalypse: Beauty and Horror in Contemporary Art

The exhibition contains the work of thirteen artists (or partnerships) allocated thi...

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ARCHIVE: Mario Merz

Contemporary online art journal with reviews, analysis and comment...

On Purpose: An enquiry into the possible roles of the computer in art

This is not another article about ‘computer art’...

Venice Biennale: the British five

“... this year’s selection of Caro, the Cohens [Bernard Cohen, Harold Cohen], Denny, and Richard...

An interview with Marcel Duchamp

Marcel Duchamp '...The whole of modern art—the Impressionists, the Fauves, the Cubists—the whole...



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