Archive - Results from #1860

Published 30/11/-0001

Alexey Titarenko: ‘I wanted to capture my inner perception of the world around me’

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James Capper in his London studio, March 2015. Photograph: Martin Kennedy.

James Capper: the making of Six Step

We visited James Capper over the course of four months, first filming him in his London studio where...

Helle Thorning-Schmidt, the Danish prime minister, took a selfie of herself with President Barack Obama and UK prime minister David Cameron at the Nelson Mandela memorial, December 2013. Courtesy ROBERTO SCHMIDT/AFP/Getty Images.

From Selfie to Self-Expression

Advertised as the world’s first exhibition dedicated to the history of the selfie, From Selfie to ...

Co-curator Sam Cornish explains the thought process behind Kaleidoscope: Colour and Sequence in 1960s British Art. Photograph: Martin Kennedy.

Sam Cornish: ‘We started with this idea that all works would have to con...

The co-curator of Kaleidoscope: Colour and Sequence in 1960s British Art discusses how this relative...

Maeve Brennan: The Drift

Premiering at the Chisenhale Gallery, Brennan’s film The Drift (2017) depicts restorative labour a...

Caroline Walker. A Scattering, 2011. Oil on canvas. © the artist.

Caroline Walker: ‘Who we perceive to be the maker of an image affects ho...

Caroline Walker’s quietly charged, often luxurious, spaces frame half-told narratives that complic...

Naeem Mohaiemen. United Red Army, 2011, 70 mins.

Naeem Mohaiemen: It is Not Necessary to Understand Everything

Tensta Konsthall is showing Bangladeshi artist Naeem Mohaiemen’s 2011 film, United Red Army, about...

Gillian Wearing. Me as Cahun holding a mask of my face by Gillian Wearing, 2012. Courtesy the artist and Tanya Bonakdar Gallery, New York and Maureen Paley, London. Copyright: Gillian Wearing, courtesy Maureen Paley.

Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask

Defying history, this exhibition reveals crucial parallels between the surrealist Cahun and contempo...

Norman Hyams talking to Studio International before the opening of his solo show Ethos at Hannah Barry Gallery, London, March 2017. Photograph: Martin Kennedy.

Norman Hyams: ‘I very much believe in losing a painting and finding it’

Norman Hyams talked to Studio International about his painting process before the opening of his fir...

Drawing Biennial 2017

The eighth edition of the Drawing Biennial, which includes more than 200 works on paper, prompts a r...

Marsden Hartley. The Ice Hole, Maine, 1908-9. Oil on canvas, 34 x 34 in (86.4 x 86.4 cm). New Orleans Museum of Art, Museum Purchase through the Ella West Freeman. Foundation Matching Fund.

Marsden Hartley’s Maine

Capping a series of pioneering shows at the Met Breuer that, force majeure, will serve as the new wi...

After Industry

This exhibition of works by Christer Karlstad, Willy Verginer and Jason DeMarte, fittingly staged in...

Jean Painlevé

This is the first UK solo show for fascinating artist Jean Painlevé, who chronicled key moments in ...

Phyllida Barlow. Untitled: stackboxtube2015, 2015, Cardboard, plywood, scrim, cement, plaster, tape, paint, spray paint, PVA, 174 x 80 x 105 cm. Photograph: Alex Delfanne.
Courtesy of the Artist and Hauser & Wirth.

Architecture as Metaphor

A mix of sculpture, tapestry, film, photography, painting and collage by 33 artists whose work refer...

Amelie von Wulffen: The Misjudged Bimpfi

For her first solo exhibition in the UK, Amelie von Wulffen deals with themes of guilt, marginalisat...

Saad Qureshi talking to Studio International at Gazelli Art House, London, 3 March 2017. Photograph: Martin Kennedy.

Saad Qureshi: ‘You can’t really pick your medium. Your medium picks yo...

Saad Qureshi talks about his seduction by charcoal, his fear of being exposed, and his creation of m...

Anna Berger. Off Piste, 2016. Oil on aluminium, 70 x 60 cm. Courtesy of Kevin Kavanagh Gallery.

A Painter’s Doubt

In order to understand contemporary painting, curator Séamus Kealy presents the work of nine Europe...

Office of Ryue Nishizawa, Moriyama House, 2005. © Takeshi Homma.

The Japanese House: Architecture and Life after 1945

Featuring more than 40 architects, this exhibition traces 70 years of small-scale innovation to cele...

Oliver Beer talking to Studio International at his London studio, 7 March 2017. Photograph: Martin Kennedy.

Oliver Beer – interview: ‘We are very fortunate to live in a time when...

Oliver Beer uses sound, film and sculpture to explore the physical properties and emotional value of...

Cauleen Smith. In the Wake, 2017. Satin, poly-satin, quilted pleather, upholstery, wool felt, wool velvet, indigo-dyed silk-rayon velvet, indigo-dyed silk satin, embroidery floss, metallic thread, acrylic fabric paint, acrylic hair beads, acrylic barrettes, satin cord, polyester fringe, poly-silk tassels, plastic-coated paper, and sequins. Collection of the artist. Photograph: Miguel Benavides.

Whitney Biennial 2017

America loves firsts, and, following a hiatus of three years, the once-unruly Whitney Biennial, now ...

Prabhavathi Meppayil

The Indian artist, brought up in a family of goldsmiths, adapts age-old techniques to make work that...

Helen Johnson. Bad debt, 2016. Acrylic on canvas, wood, 380 x 320 cm. Image courtesy of the artist.

Helen Johnson: ‘I wanted to resist presenting some sort of unified image...

Australian artist Helen Johnson’s new exhibition at the ICA in London re-examines Britain’s colo...

Sebastiano del Piombo, incorporating designs by Michelangelo. The Raising of Lazarus, 1517-19. Oil on synthetic panel, transferred from wood, 381 x 289.6 cm. © The National Gallery, London.

Michelangelo and Sebastiano

This fascinating exhibition tells the story of two Renaissance greats and their unlikely collaborati...

Tony Oursler: Imponderable

This fascinating exhibition brings together some of the artist’s vast archive of ephemera concerni...

Adrienne Elise Tarver. Secrets of Leaves, 2017. Courtesy of the artist and Victori + Mo.

Adrienne Elise Tarver: ‘I think about intrusion and the transition from ...

Adrienne Elise Tarver talks about issues of voyeurism, privacy and identity, and her interest in per...

Rik Wouters. Portrait of Rik (without a hat), 1911. Oil on canvas, 30 × 32 cm. Private collection. © Photograph: Vincent Everarts Photographie, Brussels.

Rik Wouters: A Retrospective

More than 200 works mark the largest monographic exhibition to date devoted to the Belgian modernist...

Tuneu: Hexacordo

This solo exhibition, which celebrates Tuneu’s 50 years as an artist, brings together his most rec...

Joe Tilson. Zikkurat 1, Spectrum, 1967. Oil and acrylic on board (relief), 217 x 217 cm (85.5 x 85.5 in). Courtesy of Waddington Custot.

Colour is

This group exhibition, including work by Josef Albers, David Annesley, Anthony Caro and Hélio Oitic...

I Ata Doğruel, Endless Field, Zilberman Gallery Project Space, 19-20 February 2017. Courtesy of Performistanbul.

İ Ata Doğruel: ‘I want to destroy the limits between life and art’

Pushing his physical and mental boundaries to the limit, Doğruel seeks to make performances from hi...

Serge Attukwei Clottey at 1-54 Contemporary African Art Fair, courtesy of the artist and Gallery 1957. Photograph: Luke Walker.

Serge Attukwei Clottey: ‘My body is part of my work’s mystery’

Using his body as an object, Ghanaian artist Serge Attukwei Clottey works with international media ...

Andy Warhol. Vote McGovern, 1972. Colour screenprint. © 2016 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York and DACS, London.

The American Dream: Pop to the Present

This exhibition pops and sparks, but ultimately goes out with a disappointing fizzle, leaving us to ...

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