Charles Harrison in Retrospect
Charles Harrison – art historian, Art & Language collaborator, and sometime critic and curator –...
Susan Hiller’s exhibition: Channels (2013) at Matt’s Gallery in East London is a large audio-scu...
Richard Long: Heaven and Water
There is a seeming antithesis between the realities of an invasive ‘Time Team’ archaeological in...
The Whitney Museum should set up a food cart and a postcard stand for the people who are streaming i...
The Armory Show 2013. The name is all. Forget that’s it’s held on two piers and in a tent anchor...
Lichtenstein: A Retrospective, Tate Modern, London, 21 February – 27 May 2013. Coming on to the ar...
A Highly Calculated Affair: Impressionism, Fashion & Modernity
Impressionism and Fashion debuted in fall 2012 at the Musée d’Orsay and has just opened at its se...
Constantin Brancusi: the essence of things
Two outstanding exhibitions of modern sculpture are on show together at Tate Modern in London, 'Cons...
Lynn Chadwick CBE: Pyramids, Split Forms and Beasts
Two new exhibitions of Lynn Chadwick in London simply confirm the status and importance of one of Br...
Painting’s relationship with the written word is at best fraught with complication. Over determina...
Urban Narratives at L’Espace Louis Vuitton Tokyo gives a glimpse of what it is like to live in a c...
Ursula von Rydingsvard: interview
This is her moment. Named Storm King Art Center's artist of the year, Ursula von Rydingsvard has jus...
Tate Modern 2012 Programme in Retrospect: the Place for Performance
It came as no surprise, in January, when Tate Modern announced that 2012 was an exceptional year for...
Questions of whether one perceives light, or the object generating light, or whether light is just t...
-2012-b-300.jpg)
Silvia Hatzl: A Fragile Existence
Silvia Hatzl. 'My works are born through a series of stages, most of them sensual; touching, smellin...
According to Sarah Williams Goldhagen (‘Aalto’s Embodied Rationalism’), who is one of the cont...
Elizabeth Price – 2012 Turner Prize winner
Had I been asked to place a bet upon who I thought would win the Turner Prize 2012, my money would n...
Inverleith House in the grounds of the Botanical Gardens in Edinburgh is showing the late works of P...
The paint, the plaster and the woodchips have settled on Art Basel week in Miami and the tally is mi...
Propaganda may seem like a slightly cruel way to describe the war photography of Cecil Beaton, but i...
Francesco Clemente: Mandala for Crusoe
Francesco Clemente is a mediator between the visible world and the world of thought and emotion. A 2...
Bloomberg New Contemporaries 2012
New Contemporaries has supported emerging artists from British art schools since 1949. Democratic an...
Arthur M. Sackler Gallery celebrates 25th Anniversary
The Arthur M. Sackler Gallery, an independent museum on the Washington DC Mall under the Smithsonian...
Seduced by Art: Photography Past and Present, National Gallery, London and Shoot! Existential Photog...
Curatorial Director, ANTHONY BOND, curator of Francis Bacon: Five Decades, describes his exhibition ...
Richard Hamilton: The Late Works
Just what is it that makes Richard Hamilton’s works so different, so appealing? Sadly, the current...
The skill with which Jan Van Ecyk portrays the everyday object is remarkable. He brings life and lig...
John Bellany: A Passion For Life
A 70th birthday exhibition in the National Gallery of an artist’s homeland holds a special categor...
Antipodean Springtime: Letter from Australia
Janet McKenzie spends a wonderful and art-packed three weeks in Australia....
South Korean artist Do Ho Suh’s exhibition at the 21st Century Museum of Contemporary Art, Kanazaw...
Copyright © 1893–2024 Studio International Foundation.
The title Studio International is the property of the Studio International Foundation and, together with the content, are bound by copyright. All rights reserved.
 |
 |
 |
|---|