Greek artist Sofia Stevi’s paintings ooze confidence, sensuality and an improvisational spontaneity. Yet her flair and inventiveness with a paintbrush are something of a recent discovery – to Stevi as well as to the rest of us.
Ania Dabrowska (b1973) is a Polish-born artist now living in London. She works with photography, moving image, installation, text and sound, and has a particular interest in the political and creative potency of archives within contemporary culture. She has had solo and group shows in the UK, Germany, the US, India and the Middle East, and has participated in several residencies.
The Studio International special issue Cybernetic Serendipity: The Computer and the Arts was first published in July 1968 to accompany the ICA exhibition of the same name curated by Jasia Reichardt. Both the publication and the exhibition are now legendary.
Art critic Clement Greenberg coined the term ‘post-painterly abstraction’ to describe the work of the five artists in this exhibition – Morris Louis, Ed Clark, Sam Gilliam, Frank Bowling and Kenneth Noland – yet, until recently, many of them haven’t received the recognition they deserve.
At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruins of a Psychiatric Unit uses a derelict mental hospital as metaphor for the turmoil of psychological trauma.
A museum committed to the art of the American South presents an exhibition that highlights the contributions of postwar and contemporary African-American artists in order to assert their place within mainstream modernist narratives.
As 2017 Museum Gift of the Year, Studio International has chosen the Tibetan Buddhist Shrine, a magnificent donation by Dr Alice Kandell of more than 200 precious Buddhist artefacts to the Arthur M Sackler Gallery in Washington DC.
Moving to Los Angeles at 19, having grown up in Oklahoma City, Ed Ruscha was always an outsider. His detached perspective is a quality that has remained in his work – which would become so concerned with the city – over the decades that followed.
After more than two years and a $12m makeover by architects David Gauld with Arata Isozaki, the Miami Beach museum of art has opened its doors once again. It’s more spacious and welcoming and has some ambitious work on show.
Japanese artist Yayoi Kusama, famous for her polka dots and pumpkins, opened her own museum in Tokyo in October, where she can permanently show her works and promote her message of world peace and love for humanity.
Jean Nouvel has conceived a masterful new structure for the Louvre Abu Dhabi, at once utterly modern in its technical and environmental specifications, but beautifully attuned to the ancient Arabic sense of place, and affinities with geometry and astronomy.
Mammen wanted to be “a pair of eyes, walking through the world unseen, only to be able to see others”. This retrospective, although stretching beyond the best period of her observational work in the Berlin of the 20s, offers visitors a chance to see through her eyes.
This extraordinary retrospective unites Modigliani’s portraits and sculpture with the largest collection of his nude paintings ever shown together in the UK, as well as allowing visitors a virtual reality tour of the artist’s Paris studio.
Herrera’s abstract, geometric paintings pulse with life in this solo show. She was discovered late – she sold her first painting in 2004, at the age of 89 – and her work has a concentrated intensity that speaks of many decades of quiet, unsung dedication.