Burnished by a brilliant installation, this early work shows the storied American photographer already fully in control of the technique and vision that were to so greatly influence generations of artists to come.
The Destruction of Memory charts the global loss of historic artefacts through war and terrorism. It is a film that Slade hopes will change the way governments and policy-makers view such cultural vandalism.
A woman artist working conceptually with the landscape since the 1970s, Yates’s work has often been misinterpreted. A new exhibition at Richard Saltoun will hopefully reengage viewers in the relevant discourse.
The brightly coloured faces lining the walls of this exhibition show a human fascination with people. Hockney is the lens through which these images have been captured, the characters are the story of his life.
What is lost is lost forever, says Tillmans in this politically charged exhibition, which includes posters imploring British voters to stay in Europe. With the show straddling the date of the UK’s referendum on 23 June, it will be interesting to see what viewers make of it.
This retrospective of prints produced over four decades by Scottish artist Peter Howson, one-time member of the New Glasgow Boys and a former war artist, provides an interesting parallel with his paintings.
The artist talks about her mission to place site-specific artworks honouring nature on the six habitable continents, and her involvement with the cultural programme of the Rio 2016 Olympic and Paralympic Games.
Much here is from his house or studio, with a number of paintings stretched up for the first time since the artist died in January. Mystical and ritualistic, yet irreverent, these are a taster of Rigden’s work.
Concerned with the human condition and the solitary existence of individuals, Hamilton’s paintings condense figures into a couple of suggestive brush strokes, stranded in darkness or light. This retrospective offers an overview of two decades of her work.
Like a magpie, taking fragments from works of art that he loves and reinterpreting them in new paintings on burlap or as sculptures, Valdés is always on the look out for inspiration. He explains how his entire world is seen through the lens of art history.
Whether depicting the pathos of everyday tradesmen, the union of same-sex lovers, or the embattled duality of a body riddled with cancer, the Indian artist’s wry humour combines with his vibrant palette to create compelling narrative paintings that speak to viewers across the globe.
This intriguing exhibition attempts to capture the elusive nature of the human voice, with live performances by sound artists, demonstrations, paintings and medical illustrations. Curator Bárbara Rodríguez Muñoz tells Studio International about the show.
Showcasing his work from 1921 to his death in 1964, this exhibition allows the visitor to fully appreciate the artist’s interest in going back through his older sketches and paintings to find inspiration.
The Bolognese artist uses everyday materials and plastics to replicate natural folds and textures in a manner akin to the ideas of arte povera. Currently in London for two exhibitions, she speaks to Studio International about her inspirations and aspirations.
Studio International visited Rana Begum in her studio in north-east London to talk to her about her creative process, and the works she has prepared for her first solo UK exhibition at Parasol unit foundation for contemporary art.
Art books have a special appeal: they are beautiful, collectable objects that are a pleasure to hold and be surrounded by. But the world of art publishing has changed beyond recognition in the past 20 years.
He may use scrolls and work in ink in the millennial-old tradition of Chinese landscape painting, but his themes are contemporary – the environmental destruction caused by vast infrastructure projects in his native country and the forced relocation of its inhabitants.
Alongside some of his older works, this exhibition focuses on his new, mostly monochrome paintings, executed in a range of black ink, whose disquieting and confrontational images shift fluidly between the abstract and the figurative.