Archive - Results from #360

Published 30/11/-0001

Gabriel Chaile and Laura Ojeda Bär – interview: ‘We’re really into the power of art to transform and transmute places and objects and people’

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Simon Fujiwara. White Gift, 2016. Tokyo Opera City Art Gallery.

Simon Fujiwara: White Day

A Harvey Nichols paper bag, a single branch from a plum tree and a pile of shaved fur coatsare some ...

Shigeo Anzai, Daniel Buren, The 10th Tokyo Biennale '70 - Between Man and Matter, Tokyo Metropolitan Art Museum. May, 1970. Baryta-coated silver print. Courtesy the artist and White Rainbow, London.

Shigeo Anzaï: Index I

This solo show explores the archives of photographer Shigeo Anzaï, looking at his role in documenti...

Boris Lurie. Big No Painting, 1963. Oil and paper on canvas, 65 ½ x 85 in. Boris Lurie Art Foundation, New York. © Boris Lurie Art Foundation, New York

Unorthodox

New York’s Jewish Museum courts the unconventional in a powerful group show that its curators clai...

Nicole Wermers. Installation, 2015. Photograph: Keith Hunter.

The Turner Prize 2015

The winner of the Turner Prize will be announced on 7 December. If art holds up a mirror to society,...

Claudio Abate. Yvonne Rainer and Philip Glass, Lives of Performers at Music and Dance USA L'Attico, Rome, 1972. Vintage black and white photograph. Copyright the artist. Courtesy Richard Saltoun Gallery.

The Body as Language: Women and Performance

This historically salient show, examining the birth and development of performance art in relation t...

Sara VanDerBeek. Concrete Forms, 2015. Three digital C-prints, 50.8 x 38.7 cm (20 x 15 1/4 in). Edition 1 of 3 + 2 AP.

Sara VanDerBeek: Electric Prisms, Concrete Forms

As the artist returns for her third solo show at The Approach in London, she continues to create thr...

Heatherwick Studio. Barnards Farm Sitooterie. Photograph: Steve Speller.

Thomas Heatherwick: ‘Art is like a hovering cloud of energy and attentio...

The designer and founder of Heatherwick Studio talks about growing up with Duchamp’s Nude Descendi...

The Collective: ‘You grieve for works of art when you don’t have them...

Paul and Midge Tanner, two of the founding members of The Collective, explain how and why they came ...

Peter Lanyon. Calm Air, 1961. Oil on canvas, 60 x 48 in. Private collection.

Soaring Flight: Peter Lanyon’s Gliding Paintings

This tightly focused and coherent exhibition concentrates on the paintings the artist made in respon...

Sculpture in the City 2015

Now in its fifth year, the public art exhibition Sculpture in the City is showing 14 works by contem...

Stella Ioannou, co-director, Sculpture in the City, London, September 2015. Photograph: Martin Kennedy.

Stella Ioannou: interview

Now in its fifth year, the public art exhibition Sculpture in the City shows contemporary art pieces...

Houndstooth sari by Abraham & Thakore, double ikat silk, Hyderabad, 2011. Photograph courtesy of Abraham & Thakore.

The Fabric of India

Every square inch of fabric in this exhibition has a story to tell, from a sweat-stained talismanic ...

Jerzy Ryszard (Jurry) Zielinski. Bez Buntu (Without Rebellion), 1970. Private collection, courtesy Luxembourg & Dayan. © the Estate of the artist.

The World Goes Pop

In Tate Modern’s latest exhibition, curators Jessica Morgan and Flavia Frigeri make an ambitious a...

Arkady Shaikhet. Express, 1939. Gelatin silver print. Nailya Alexander Gallery, New York.

The Power of Pictures: Early Soviet Photography, Early Soviet Film

This exhibition, which presents many canonical works from 1920s and 30s Russia from public and priva...

Shona Illingworth. Lesions in the Landscape, 2015. Installation view, FACT. Photograph: Jon Barraclough.

Shona Illingworth: ‘Art practice is deeply important in a changing world...

The Danish-born artist Shona Illingworth, whose video and sound installations explore the mystery of...

Tamar Ettun. Cookie Violin, 2014. Mixed media, 17 x 7 x 4 in.

Tamar Ettun: ‘I am using the structure of a religious practice as a fold...

The young Israeli-American sculptor talks about her Orthodox background, her beginnings in art, inte...

Boy & Erik Stappaerts. Polarisation painting, 2015. Varish on laquer on aluminium panel, 181 x 107 x 1.5 cm (71¼ x 42 x ½ in). Collection Stéphane Verbeeck. Photograph: viktorbentley studio.

The Gap: Selected Abstract Art from Belgium

This group exhibition – curated by artist Luc Tuymans – brings together more than 40 works by 15...

Shani Rhys James at Connaught Brown gallery, London, September 2015. Photograph: Martin Kennedy.

Shani Rhys James: ‘I love the luxuriousness of a flower’s abstract sha...

The artist talks about her dramatic paintings, the significance of red and her own particular take o...

Ai Weiwei at the Royal Academy of Arts, London. The first major institutional survey of his work ever held in the UK. September 2015.
Photograph: Martin Kennedy.

The art behind the activist: Adrian Locke talks about Ai Weiwei

A rebel, an iconoclast and a playful symbolist – Ai Weiwei is all these things, but surely history...

The Water Hen, Cricot 2 Theatre, Edinburgh Festival, 1972. Photograph: © Richard Demarco.

Tadeusz Kantor: Inbetween Structures

As two exhibitions celebrate the centenary of the birth of Polish artist and theatre director Tadeus...

Thomas Ruff. neg◊stil_02, 2015 C-Print, 9 3/16 x 10 13/16 in (23.4 x 27.4 cm). Edition 1 of 8. © Thomas Ruff. Image courtesy of the artist and Gagosian Gallery.

Thomas Ruff: Nature Morte

The German photographer known for his forward thinking and experimentation has gone back in time for...

Elaine Cameron-Weir. Found that the effect of manures, drugs, and poisons could be determined within minutes, providing plant control with a new precision. He repeated his tests on metals, administering poisons to tin, zinc, platinum, and obtained
astonishing response which, when plotted on a graph, appeared precisely like those of poisoned, 2015. Brass, alabaster.
Stone dimensions 31.8 x 31.8 x 27.9 cm, overall height 231.1 cm, others variable. © the artist; Courtesy Lisson Gallery, London.

The boys the girls and the political

The Lisson Gallery’s summer show takes a linguistic turn while tapping into the trends of the netw...

Toni Scott talking to Studio International at the opening of DNA – Bloodlines and the Family of Mankind, Arthur M Sackler Museum of Art and Archaeology at Peking University, 6 July 2015. Photo: Martin Kennedy.

Toni Scott: ‘People don’t understand that what’s in the past is stil...

The California-based multimedia artist Toni Scott talks about how, in DNA – Bloodlines and the Fam...

MC Escher. Waterfall, 1961. Lithograph, 38 x 30 cm. Collection Gemeentemuseum Den Haag, The Hague, The Netherlands. © 2015 The MC Escher Company – Baarn, The Netherlands. All rights reserved. www.mcescher.com

The Amazing World of MC Escher

MC Escher was long ignored by galleries and dismissed by critics, yet there is arguably no modern ar...

Roger Vivier (1907–98) for Christian Dior (1905–1957). Evening shoe, beaded silk and leather, France, 1958-60. © Victoria and Albert Museum, London.

Shoes: Pleasure and Pain

Exploring themes of transformation, status and seduction, the V&A’s Shoes: Pleasure and Painis an ...

Thomas Hirschhorn: In-Between

With his latest installation at South London Gallery, Thomas Hirschhorn’s portrayal of destruction...

Susan Cianciolo: if God COMes to visit You, HOW will you know? (the great tetrahedral kite). Installation view (1) at Bridget Donahue, New York. Photograph: Marc Brems Tatti.

Susan Cianciolo: ‘Everything I make is so sacred and it’s all about th...

The artist talks about the Fluxus boxes in her latest exhibition, opening a textile store in Mississ...

Interview with Emma Gifford-Mead at the Sergio Camargo exhibition, Mármore, at Lisson Gallery, London, 22 May – 4 July 2015.

Sergio Camargo: Mármore

Lisson Gallery’s head of exhibitions, Emma Gifford-Mead, talks to Studio International about the i...

Perino del Vaga (1501-47). Holy Family with Saint John the Baptist, 1528-37, Oil on panel, 139.8 x 111.2 cm.

Unfinished … Works from the Courtauld Gallery

Most artists, at some point, are asked, ‘How do you know when a work is finished?’ It’s a surp...

Lateefa bint Maktoum. The Last Look, 2009. Archival print, 100 x 150 cm. Courtesy of the artist.

Sheikha Lateefa bint Maktoum: ‘I am a veiled woman, so it’s a natural ...

The founder of Tashkeel, Dubai’s first public studio space for artists, talks about her hopes for ...

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