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Andy Warhol: Works from the Hall Collection
“Andy took the world as it was and, in his own way, described it with amazing accuracy,” says curator Norman Rosenthal, who talks about trying “to tell a story through the pack of cards that is the [Hall] collection”. Studio International spoke to him at the opening of the exhibition.
Ashmolean Museum, Oxford, until 15 May 2016.
Simon Fujiwara: White Day
A Harvey Nichols paper bag, a single branch from a plum tree and a pile of shaved fur coats are some of the objects Fujiwara uses to challenge our common perceptions and stereotypes, as he turns the gallery into a factory assembly line, even producing new pieces during the show.
Tokyo Opera City Art Gallery, until 27 March 2016.
Collateral Drawing: ‘It’s like revealing the magic trick’
Co-curators and artists from the ongoing Collateral Drawing project reveal insights into their working processes and how exhibiting by products of their creation changes the way they think about their own practices.
Waterfront Gallery, UCS, Ipswich, until 19 February 2016.
Alice Anderson: ‘I don’t refuse this world, I just need to explore alternatives to live with it today’
The artist talks about her unique method of “memorising” and “recording” objects in copper wire, and explains how this helps her to slow down and maintain an intimacy with the world around her.
Odili Donald Odita: ‘I want to use colour to have an effect on the mind and body’
Known for his vibrant, large-scale, abstract paintings, the artist talks about his influences, from the crazy patterns of wallpaper and the African artefacts in his childhood home, to the exhibitions and artists who have shaped his work.
Rose English: ‘Improvisation is present always, making anything’
The artist talks about her collaboration with composer Luke Stoneham and a troupe of Chinese acrobats, for her evolving work, now on show as A Premonition of the Act at Camden Arts Centre.
Camden Arts Centre, London, until 6 March 2016.
Spanning a wide range of media, this exhibition takes works created since 1969 by 15 artists, each of whom translates the same concept – the form of the line – into a distinct, novel idea.
Lisson Gallery, London until 12 March 2016.
Virgile Ittah: ‘I think it’s in an artist’s genes – they never follow the rules’
The artist talks about her unique wax modelling technique, her current collaboration, and explains why she feels gender is no longer an issue.
Champagne Life
As the Saatchi Gallery marks its 30th anniversary with its first all-women exhibition, a new generation of female artists seems confident about what the next three decades will bring.
Saatchi Gallery, London until 9 March 2016.
An artist who is changing sculpture: Katrina Palmer
Lisa Le Feuvre, the head of sculpture studies at the Henry Moore Institute, tells the fascinating tale of London’s Necropolitan Railway, the inspiration for Katrina Palmer’s sculptural installation, which takes visitors on a one-way journey.
Liz Magic Laser: ‘I’m interested in throwing a well-rehearsed script into a precarious scenario’
The multimedia artist talks about being critical of TED talks, studying US presidents, treating the child as an emblem of the future, and other artists who have had most significance for her.
Ivan Sotnikov: Painting of the 20th – 21st Century
A private museum in St Petersburg showcases the works of an important local artist who died last year.
The New Museum, St Petersburg, until 28 February 2016.
Francesca Woodman: On Being An Angel
Influenced by surrealism and the Gothic revival, as well as speaking to the contemporary 1970s feminist zeitgeist, Francesca Woodman’s photography offers a timeless representation of a young woman on the cusp of adulthood.
Foam, Amsterdam, until 9 March 2016.
Margaret Harrison: ‘You have to have a strategy to draw people into the work’
Pioneering artist Margaret Harrison shares memories of her early career as an activist for equal rights and pay and fair working conditions for women.
Paul Huxley: ‘I have more fun making sculpture than making paintings, but I’ve made paintings all my life’
The artist talks about his career, from visiting Robert Motherwell and Lee Krasner in New York in the 1960s, to his wall drawings for the Azerbaijan pavilion at the 2015 Venice Biennale, to his new work for a forthcoming show in Santa Fé, his first solo exhibition in the US for nearly 40 years.
Emilia Kabakov: ‘The idea behind this work is that reality can never been seen straight on, but is always obscured either on purpose or by necessity’
Emilia Kabakov, who collaborates with her husband, Russian conceptual artist Ilya Kabakov, talks about working together, their exhibition at Pace Gallery, and other projects they are planning.
Hector McDonnell: ‘My paintings have always been about personal experiences’
As well as a realist painter of everything from Northern Ireland’s infamous Maze prison to Rwanda after the genocide and the twin towers following 9/11, McDonnell is a prolific cartoonist and the author of books on Irish history.
Superflex’s Rasmus Nielsen: ‘I would not call us do-gooders, but maybe doers’
The work of the Danish collective has included everything from designing a public park to producing soft drinks and biogas lamps for farmers. Rasmus Nielsen explains how the group started and its refusal to be boxed in.
Art into Society – Society into Art: Seven German Artists
By revisiting a key exhibition of German artists from 1974, the ICA reflects on art, its relationship to capitalism, and its potential to incite reform.
ICA Fox Reading Room, London, until 6 March 2016.
Maud Sulter, Syrcas
The Scottish-Ghanaian artist placed black women at the centre of the frame, metaphorically and literally. This exhibition of her series Syrcas shows her use of photomontage to disrupt European images by covering them with traditional African objects and artworks.
Autograph-ABP, London, until 2 April 2016.
Painting the Modern Garden: Monet to Matisse
Gardens have inspired artists and influenced painting, from impressionism to the avant garde and beyond. Here, curator William Robinson talks about the exhibition and Monet’s erudite passion for gardening.
Royal Academy, London, until 2 April 2016.
Koen Vanmechelen: ‘An artist is always arriving at something that was unknown before’
The man who turned breeding chickens into an art explains his plans to create a sustainable, diverse society, and how his new project, Biomista, will advance his aims.
Robel Temesgen: ‘Being an Ethiopian in Norway was a really interesting inversion’
In his first London show, the artist explores the Ethiopian traditions of honouring the spirit of a place or community. Two years of studying in Norway have only intensified his fascination with disappearing rituals and cultural and social fragmentation.
Robel Temesgen: Adbar is at Tiwani Contemporary, London, until 6 February 2016.
Aura Satz: ‘I think of all my works as conversations’
The artist reveals some of the hidden stories that inspire her film, performance and installation works, exploring different techniques for visualising sound and seeking to recover the unheard female voice.
Pat Sachs: ‘The small, intimate scale has felt ideally suited for my visual language’
Working on drawings after labouring over collages is like taking a gallop through a vast field, says the artist best known for her tiny, torn-paper explorations of landscapes and architectural forms.
When Silence Falls
This is a group exhibition of work by contemporary artists exploring humanitarian crimes. It presents us with alternative perspectives on history, including those of minority groups or people with little power, and the exhibition is an example of how the public art gallery can be used as a forum for learning, understanding and taking responsibility for the past.
Art Gallery of New South Wales, Sydney until 1 May 2016.
Carole Robb: ‘It was the harsh Scottish weather that shaped the internal life of my imagination’
As a child, she drew on her bedrooms walls. As an adult, she has won the Prix de Rome and a Fulbright Scholarship. Born in Scotland, she has lived in Rome, New York and London. Here, she talks about her career, and her latest work based on the love story of Paris and Helen of Troy.
Anthony Pearson: ‘I am seeking an inventive form as opposed to a clearly conventional one’
The artist, known for his refined sculptures and reliefs, explains why he moved from photography to sculpture, why he likes flaws and idiosyncrasy to be part of his work, and why he bans artificial light in his studio, stopping work once it gets dark.
Munch: Van Gogh
This thorough exhibition explores parallels in the lives and works of Vincent Van Gogh and Edvard Munch, two artists whose lives were plagued by anguish, but whose works are loved for their colour and humanity.

Harriet Thorpe: One more week to see a show of Japanese photographer Shigeo Anzai: Index I @WhiteRainbowLdn. Find out more here: http://bit.ly/1Spkluk

Nicola Homer: The location of Johannes Vermeer’s world-famous ‘The Little Street’ has been discovered: http://bit.ly/1kGD1Jn

Harriet Thorpe: For ball-pits, hot-tubs, massage-chairs and water-beds, visit Jon Rafman's exhibition at the #Zabludowicz in London until 20 December.

Kelly Robbins: In a new video by #MollyDavies, #PatSteir discusses her work while #painting in her Vermont studio. http://bit.ly/1P06gS3 #artist

Kelly Robbins: NYC-based artist #JoycePensato painting & dancing in her studio http://bit.ly/1RDeiju #contemporaryart #studiovisit #painting

The Drawn Word: ‘Even if I write my name I am drawing’

The Drawn Word. Published by Studio International and the Studio Trust, 2014. Cover image: Will McLean. “All writing is drawing/ Method of Investigations”.


This publication focuses on explaining the relationship between writing and drawing; the ideas raised at the symposium are expanded and clarified, with the inclusion of artists’ and academics’ contributions from sources as diverse as Oxford professor emeritus Martin Kemp – who has written on the Leicester Codex by Leonardo da Vinci and Professor Asa Briggs (a leading British historian and a key code-breaker at Bletchley Park during the second world war) – who discusses, “Drawing as Code”.

The Drawn Word is the product of a research project funded by an Arts and Humanities Research Council networking grant that explored the relationship between writing, drawing and literacy. As such it is a collaborative publication between Studio International, the University of the Arts London (UAL) and the Royal Melbourne Institute of Technology University (RMIT).

Editors: Professor Stephen Farthing RA and Dr Janet McKenzie
Publisher: Studio International and the Studio Trust, New York and London, 2014.
Content: 128 pages, full colour.
Language: English.
ISBN: 9780983259954 (Softcover).
Dimensions: 280 x 115 x 11 mm (11.0 x 8.7 x 7/16 in).
Price: UK £20, US $30, A $40.

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