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Happy to scuff your floors for you, Murillo

In Murillo’s “resourceful” SLG exhibition, just one single patched black canvas hangs ragged o...

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Black Performance as Visual Art

Black performance needs no introduction. However, this is usually true with theatre, music and dance...

Jill Spalding talks to American sculptor Alice Aycock

Though best known for her elaborate constructions in wood and metal, Alice Aycock is collected as wi...

A Painter of Sorrows

The pictures of Russian painter Marc Chagall (1887-1985) have the simple charm of folk and fairy tal...

Patrick Caulfield

In 1981, British painter Patrick Caulfield said: “I like the idea that things have been done in th...

Janet Cardiff’s Sound Sculpture

The Forty Part Motet, a sound installation by Canadian artist Janet Cardiff, is not so much a sight ...

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Transmitted Live: Nam June Paik Resounds

Master of the television screen, South Korean born artist Nam June Paik (1932-2006) is represented i...

Calligraffiti: 1984/2013 – the art happening that launched the New York ...

A vibrant collaboration between Jeffrey Deitch, who curated the show, and Leila Heller, the longtime...

Moving Beyond – Painting in China 2013

Of the many aspects that the exceptional Moving Beyond – Painting in China 2013 exhibition explore...

The Birth of Cinema … and Beyond: An Exhibition of Painting and Video

Before the invention of cinema in the 19th century, visual art was one of the primary means for stor...

Cameron Abridged

The exhibition of Julia Margaret Cameron’s portraits and allegorical scenes currently on view at t...

How to be Contemporary? An interview with curator Charles Esche

The Scotsman Charles Esche, director of the Van Abbemuseum, a modern and contemporary museum in Eind...

Imran Qureshi at the MET

The Pakistani artist Imran Qureshi, who was voted Artist of the Year in 2013 by the Deutsche Bank Gl...

The Universal Addressability of Dumb Things

The exhibition’s title, The Universal Addressability of Dumb Things, comes from a concept in compu...

Witches and Wicked Bodies

“The witch is dead. Which old witch? The wicked witch! Ding Dong! The wicked witch is dead!” Fro...

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George Gittoes

George Gittoes has worked in many war zones over the past 40 years, including Rwanda, Bosnia, Somali...

American Modern – A Canon Revived

The recently opened American Modern: Hopper to O’Keeffe in the Museum of Modern Art is arranged in...

Le Corbusier: An Atlas Of Modern Landscapes

The current exhibition at the Museum of Modern Art, New York, curated by Cohen and Barry Bergdoll, m...

Gary Hume

Contemporary British painter Gary Hume’s current retrospective at Tate Britain is a both a dark an...

Man Ray

A major retrospective of Man Ray at the Scottish National Portrait Gallery in Edinburgh: a highlight...

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All I Have Learned and Forgotten Again

This major exhibition of works by Jockum Nordström [b.1963] explores the breadth of his work in col...

Emma Hart

Emma Hart (b. 1974, London) lives and works in London and has presented solo exhibitions and perform...

Peter Doig – No Foreign Lands

Doig was born in Scotland, worked on oil rigs on the Canadian plains, studied in London, taught in D...

Date with fate at the Tate

On Tuesday morning, 20 October 1970, the incipient but short-lived International Coalition for the L...

Kengo Kuma: Complete Works

Most recently the architect Kengo Kuma from Japan has been commissioned by the Victoria & Albert Mus...

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Professor Mechal Sobel discusses her research on Bill Traylor

Studio International spoke with Professor Sobel about her interest in Traylor, the influence of Afri...

Bill Traylor

Since he was brought to public attention at the Corcoran Gallery in Washington DC with the 1982 exhi...

Bedwyr Williams: interview

Williams is currently representing Wales at the Venice Biennale with The Starry Messenger. He is als...

David Whitaker Retrospective Part II: Waters of the Nile

David Whitaker (1938 – 2007) was one of the first artists to have a solo show at the Serpentine Ga...



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