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The Japanese-born artist recounts his refusal to dictate how spectators should view his work, his visual dialogue with Frank Stella, and the desire to void his art of meaning
Wayne Thiebaud. Cherry Pie, 2016. Oil on paper mounted on board, 8 1/2 x 10 in (21.6 x 25.4 cm). © Wayne Thiebaud/DACS, London/VAGA, New York 2017.
The quintessentially American artist is now 96 years old, and this impressive exhibition shows an array of Thiebaud’s still lifes, portraits and landscapes from across the seven decades of his career.
Jay Heikes. Heartless Ascension, 2010. Iron, bronze and rust, 99 1/2 x 200 x 67 in (252.7 x 508 x 170.2 cm). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Jay Heikes. Photograph: Jason Wyche.
The Minneapolis-based artist discusses his experimental approach to materials, the significance of music within his practice, and the role of transcendence in contemporary life.
Akram Zaatari. The Body of Film, 2017. Backlit UV print on cloth. Courtesy of the artist.
Searching for alternative historical and cultural narratives, Zaatari reveals the contents of the Arab Image Foundation through documentary film, photography and art, bringing new readings to the collection.
Joseph Kosuth. ‘Titled (A.A.I.A.I.)’ [colour] (O.E.D.), 1967. Mounted photograph, 122 x 122 cm. © Joseph Kosuth. Courtesy of the artist and Sprüth Magers.
On the occasion of his curated installation at Mazzoleni, the pioneer of conceptual art speaks to Studio International about his insistence that art must question and elicit meaning, the impoverishment of art’s critical bite under market domination, and his scepticism about art history’s objectivity.
Florian Hecker: Synopsis, installation view, Tramway, Glasgow, 2017. Courtesy Tramway,  Glasgow.
Hecker manipulates digital sound and our perception of it in this installation commissioned for Tramway.
Joyce Pensato. Homer in the Hood, 2017. © Joyce Pensato; Courtesy Lisson Gallery.
Batman, Donald Duck and Disney-style mice all loom large in the US artist’s second exhibition at the Lisson Gallery, And, although the works, all from 2017, are well-worn territory for her, she demonstrates a subtle shift in style.
Elger Esser. Enfeh I, Lebanon, 2005. C-print, Diasec, 142 x 184 x 5 cm (56 x 72½ x 2 in). Courtesy of the artist.
After his recent solo exhibition at Parasol Unit in London, the artist talks about the relationship between Lebanon and Syria, having more in common with JMW Turner than Caspar David Friedrich, and how we are programmed to view landscapes as beautiful.
Mithu Sen.
Indian artist Mithu Sen has a quicksilver practice that is difficult to categorise or maintain as a singular narrative. This, she says, is intentional – it is her effort to defy the demands of the market.
Becky Suss. Bathroom (Ming Green), 2016. Oil on canvas, 84 x 60 in. Courtesy Jack Shainman Gallery.
In her exhibition Homemaker at the Jack Shainman Gallery in New York, the Philadelphia-based artist presents a group of paintings that reflect on interiors that include objects of personal significance.
NS Harsha, portrait.
The Indian artist explains some of the works on show at this retrospective, and why, despite once working for a technology company, he prefers to stick to painting.
Samson Young talks to Studio International at the opening of his show, Songs for Disaster Relief, a collateral event for Hong Kong at the Venice Biennale 2017. Photograph: Martin Kennedy.
Young’s Venice Biennale collateral event for Hong Kong explores the disquieting cocktail of components that comprise the charity single. He talks about the power of music, fake news and what our cultural products say about human nature.
Under the wave off Kanagawa (The Great Wave) from Thirty-six views of Mt Fuji. Colour woodblock, 1831. Acquisition supported by the Art Fund. © The Trustees of the British Museum.
This exhibition brings to life the story of the Japanese artist Hokusai’s later, and arguably greatest, years.
Matteo Norzi, Leonor Caraballo and Abou Farman on the set of Icaros – A Vision. Photograph: Conibo Productions.
Abou Farman, who co-wrote Icaros: A Vision with Leonor Caraballo, talks about the film, which is based on Caraballo’s exploration of shamanism after she was diagnosed with cancer, and coming to terms with her death.
Frank Quitely, 2017.
The Glaswegian comic-book superstar Frank Quitely is celebrated in this new exhibition of his famous work.
Lee Lozano. No title, c1962. Oil on board, 7 x 8.3 cm. © The Estate of Lee Lozano. Courtesy the Estate and Hauser & Wirth.
Merging human organs and household objects, Lozano’s early miniatures are erotic and unsettling in equal parts.
Geta Brătescu. Doamna Oliver în costum de călătorie (Lady Oliver in her travelling costume), 1980–2012. Black and white photograph. Courtesy Galerie Barbara Weiss, Berlin.
Camden Arts Centre’s exhibition provides an overview of Brătescu’s artistic career and including drawing, collage, video, sculpture and photography.
Rebecca Belmore. Biinjiya'iing Onji (From inside), 2017. Marble, Filopappou Hill, Athens, documenta 14. Photograph: Fanis Vlastaras.
Despite multiple curatorial concepts, the first part of Documenta 14 is dominated by the decision to hold it in Athens. Beyond the political decisions and curatorial rhetoric, the exhibition is an ambitious and extensive city-wide production that can be read in many ways.
Georgia Horgan. All Whores are Jacobites, installation view, 2017. Photograph: Ollie Hammick.
The artist talks about her recent exhibition, All Whores are Jacobites, and how she became intrigued by the lives of three women whose lives were linked by themes of prostitution, textile work and protest.
Rachel Maclean talks to Studio International about representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. Photograph: Martin Kennedy.
Maclean is representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. She talked to us before the biennale about the film, nationalism, fairytales, and how narratives can be so powerful that audiences prefer the fiction to fact.
Frances Stark. Still image from The making of The Magic Flute, 2017.
The Los Angeles-based interdisciplinary artist and writer talks about her first opera, an adaptation of Mozart’s Magic Flute,and her desire to cross boundaries.
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