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Peter Howson: A Survey of Prints

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

Peter Howson. The Noble Dosser, 1988 (detail). © Peter Howson, Courtesy of Flowers Gallery London and New York.
Marcus Coates. Dawn Chorus, 2007. Multi-screen film installation, gallery view, Wellcome Collection, London, 2016.
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.
Stuart Davis. Fin, 1962–64. Casein and masking tape on canvas, 53 7/8 x 39 3/4 in (136.8 x 101 cm). Private collection. © Estate of Stuart Davis / Licensed by VAGA, New York, NY.
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.
Francesca Pasquali at Tornabuoni Art, London, 24 June 2016.
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.
Jennifer Wen Ma at the opening of A Beautiful Disorder, Cass Sculpture Foundation, 1 July 2016. Photograph: Martin Kennedy.
The artist talks about her new installation, Molar, at Cass Sculpture Foundation, created as a place of reflection on a disintegrating utopia.
Rana Begum at her north-east London studio, 16 March 2016. Photograph: Martin Kennedy.
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.
Matisse in the Barnes Foundation. Edited by Yve-Alain Bois. Published by Thames & Hudson (18 December, 2016). Courtesy of Thames & Hudson.
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.
Yun-Fei Ji. The Vendors and the Wind, 2014. Ink and watercolour on Xuan paper, mounted on silk 26 1/8 x 30 3/8 in (66.3 x 77 cm). Collection of the Ruth and Elmer Wellin Museum of Art.
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.
Li Jin 李津. Stare of Death 死不瞑目, 2015. Ink on paper 纸本水墨, 38 5/8 x 70 7/8 in (98 x 180 cm).
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.
Dóra Maurer. 6 out of 5, 1979. Acrylic on wood with vinyl, 39 3/8 x 196 7/8 in (100 x 500 cm). © the artist. Photo graph © White Cube (Todd-White Art Photography).
As a new exhibition surveys her 50-years career, the Hungarian artist talks about colour, maths and geometry – and why she doesn’t like finished work.
Ella Kruglyanskaya. Bathers, 2006. Egg tempera on board, 50.8 x 76.2 cm. Courtesy the artist, and Gavin Brown’s enterprise New York/Rome.
Colourful, cartoonesque depictions of curvaceous, sassy women people the Latvian artist’s paintings but, despite the humour, the message is clear.
Diane Arbus. Jack Dracula at a bar, New London, Conn. 1961. © The Estate of Diane Arbus, LLC. All Rights Reserved.
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.
Tim Slade (centre) with his crew during filming of the Mostar bridge sequence.
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.
Marie Yates. Field Working Paper 9. – 18th June 1972 – Hillson's Ho, Harford Moor, Dartmoor, 1972. Copyright the artist. Courtesy Richard Saltoun Gallery.
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.
David Hockney at the Royal Academy of Arts, London, 2016. © David Parry/Royal Academy of Arts.
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.
Sir Thomas Lawrence. Sir Francis Baring, 1st Baronet, John Baring, and Charles Wall, 1806-1807. Oil on canvas, 156 × 226 cm. Private collection. © Photograph courtesy of the owner.
The National Gallery sheds light on the personalities of some of the biggest names in painting, not through their work, but through the art that they collected.
László Moholy-Nagy. Construction AL6 (Konstruktion AL6), 1933-34. Oil and incised lines on aluminium, 60 x  50 cm. IVAM, lnstitut Valencia d'Art Modern, Generalitat. © 2016  Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York.
A major retrospective showcases the work of multimedia Hungarian artist László Moholy-Nagy, who pioneered the use of technology as a creative medium.
Jeff Koons. Titi, 2004-2009. Mirror-polished stainless steel with transparent colour coating, 37 7/8 x 23 13/16 x 14 7/8 in (96.2 x 60.5 x 37.8 cm). © Jeff Koons.
For the second exhibition at his gallery in Vauxhall, Damien Hirst presents more than 30 works by Koons, some of which have never before been shown in the UK.
Wolfgang Tillmans. The State We’re In, A, 2015. Unframed inkjet print, 273 x 410 cm. © Wolfgang Tillmans, courtesy Maureen Paley, London.
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.
Almuth Tebbenhoff. Photograph: Kevin Sharp.
The sculptor talks about the perpetual puzzle of the cosmos and its vastness, eternity and the meaning of life – all themes running through her work, no matter what its scale.
Anthony McCall. Circulation Figures, 1972/2011. Installation view, Serralves Foundation, Portugal, 2011.
The artist, a key figure in the avant-garde London Film-makers’ Co-operative in the 1970s, discusses his current exhibition at a 15th-century gothic palace in Barcelona.
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