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Simon Patterson talks about his show Safari: An Exhibition as Expedition, at the De La Warr Pavilion in Bexhill-on-Sea, and about the concepts that inform his work
Julian Lethbridge. Boreas, 2017. Oil, pigment stick, on linen, 132 x 106.5 cm (52 x 42 in). Courtesy the artist and Contemporary Fine Arts. Photograph: Matthias Kolb.
The 13 new paintings by Julian Lethbridge, now on show in Berlin, are works of virtuosity and dedication, and provide a captivating and absorbing demonstration of a painter exploring his unique approach to the fullest.
Harold Cohen talking to Studio International in his home studio, Encinitas, California, May 2015.
Pioneer of computer art Harold Cohen died last year at the age of 87. In 2015, in one of the last interviews of his life, he talked to Studio International about his long career.
Damien Hirst. The Collector with Friend. Bronze, 185.5 x 123.5 x 73 cm. Photograph: Joe Lloyd.
The YBA’s watery comeback dazzles with its extravagance, but the audacity of Hirst’s exhibition only goes so far.
An interview with Marcel Duchamp by Dore Ashton. First published in Studio International, Vol 171, No 878, June 1966, page 244.
’[Marcel Duchamp:] ...The whole of modern art—the Impressionists, the Fauves, the Cubists—the whole, except maybe the Surrealists, were retinal. Abstract expressionism was very retinal, and of course, Op art is very retinal. A little too retinal for one’s taste.’.
Lluís Lleó. Photograph: Corrado Serra.
Lluís Lleó talks about how, for his recent installation on Park Avenue, New York, he was inspired to use stones from Europe that referred to the history of murals and fresco painting as a way of re-establishing a relationship between old and new worlds.
Andrew Rogers. I AM–ENERGY, installation view in front of Nur Alem, nicknamed The Sphere, the Expo’s hub, housing the Kazakhstan National Pavilion and Museum of Future Energy.
Among Expo 2017’s vast complex of pavilions stands Andrew Rogers’ I AM–ENERGY. A sculptural feat of engineering, it spirals triumphantly upwards to more than 10 metres, confronting visitors like a graceful ballerina en pointe.
Hayv Kahraman. T25 and T26, 2017. Oil on linen, 203.2 x 152.4 cm (80 x 60 in). © Hayv Kahraman. Courtesy of the artist and Jack Shainman Gallery, New York.
Filled with dark eroticism and witty visual puns, Dreamers Awake is a sprawling survey that explores the influence of surrealism through works by women artists from the 1920s on.
Jesse Jones talking to Studio International at the opening of Tremble Tremble, Pavilion of Ireland, Venice Biennale 2017. Photograph: Martin Kennedy.
Gender inequality was one of many human rights issues that artists wrestled with at the 57th Venice Biennale, with one of the most powerful statements coming from the Irish pavilion, in the Arsenale. Here, artist and film-maker Jesse Jones has constructed a huge theatrical evocation of her own creation myth, that of the giantess.
Raqib Shaw. Detail of Self-portrait in the Studio at Peckham (this is how Shaw depicts himself, part clown, part skeleton), 2014-15. Photograph: Veronica Simpson.
A new show at the Whitworth Manchester combines Raqib Shaw’s paintings and sculptures with prints, textiles and objects that reveal an intense dialogue between the ages and across continents.
Ida Applebroog. Mercy Hospital, 1969. Ink and watercolour on paper, 35.6 x 27.9 cm (14 x 11 in). © Ida Applebroog. Courtesy the artist and Hauser & Wirth. Photograph: Emily Poole.
These drawings from the forgotten sketchbooks of the well-known feminist artist Ida Applebroog offer an intimate insight into her struggle with depression during a six-week stay at Mercy Hospital in 1969.
Hans Hansen. Untitled (Plant models), 2007. © Hans Hansen.
This survey of six decades of the work of German photographer Hans Hansen, perhaps best known for his photographs of a dismantled Volkswagen Beetle and later a Golf, revels in his eye for surface texture, purity of form and iconographic composition.
Hélio Oiticica (1937–1980), installation view of Eden (1969) at Whitechapel Gallery, London, 1969. Sand, crushed bricks, dry leaves, water, cushions, foam flakes, books, magazines, Dzpulp fiction, dz straw, matting, and incense, 68 ft. 10 3/4 in. ×  49 ft. 2 1/2 in. ×  11 ft. 5 3/4 in. (21 ×  15 ×  3.5 m). Collection of César and Claudio Oiticica. © César and Claudio Oiticica.
This inspiring retrospective at the Whitney captures the sensuous resonance of Brazilian artist Hélio Oiticica’s work, allowing visitors to immerse themselves in the life-affirming spirit of his oeuvre.
Harold Cohen’s Drawing Machine in 1979. Courtesy Harold Cohen’s archive.
Harold Cohen, who developed Aaron, one of the first and most complex software programs for computer-generated art, died last year at the age of 87. We look back at his achievements.
Clare Woods. Comfort Monitor, 2016. Oil on aluminium, 3m x 2m (118 x 78in). Courtesy the artist and Simon Lee Gallery London & Hong Kong.
For her first solo exhibition in Scotland, the renowned British artist Clare Woods presents 11 striking new paintings.
Stephen Chambers talking to Studio International at the opening of The Court of Redonda, Venice, 2017. Photograph: Martin Kennedy.
UK artist Stephen Chambers talks about looking for the extraordinary within the ordinary, about the appeal of fictional kingdoms, the relationship between art and literature, and being led by his instincts to do what he ‘can’t help doing’.
Laura Youngson Coll. © Hydar Dewachi.
Expanding on her fascination with the world of nature and natural sciences, Laura Youngson Coll has produced an intricate series of work in vellum – mixing fact and fiction, beauty and abjection – responding to the loss of her partner to non-Hodgkin lymphoma.
Benny Andrews. Did the Bear Sit Under a Tree?, 1969. Oil on canvas with painted fabric collage and zipper, 127 x 156.8 x 5.7 cm. Emanuel Collection. © Estate of Benny Andrews /DACS, London IVAGA, NY 2017.
This is an exhibition of tragedy, celebration and defiance at a time of change and violence in the US’s racial history. Soul of a Nation is powerful, moving and brimming with artistic heroes who, until now, have been largely overlooked and underappreciated.
Otto Dix. Reclining Woman on a Leopard Skin, 1927. (Liegende auf Leopardenfell), 1927. Oil paint on panel, 68 x 98 cm. © DACS 2017. Collection of the Herbert F. Johnson Museum of Art, Cornell University.
A portrait of a nation, of an era, and, at heart, of humanity, this dual exhibition of two key artists of the Weimar Republic – photographer August Sander and painter Otto Dix – gives a comprehensive overview of the sociopolitical climate and the people living through it.
Evgenia Arbugaeva. Photograph: Theodora Richter.
The Russian photographer Evgenia Arbugaeva spins gold from the light of desolate places, finding beauty in some unlikely environments.
Afruz Amighi. Photograph: Matteo Leonardi.
In No More Disguise, Afruz Amighi’s first show of drawings, the New York-based artist discusses the creative impulse she experienced following the 2016 US election, and the role of American history in her most personal work to date.
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