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In the most substantial survey of Rachel Whiteread’s work to date, the Tate looks back over 30 years of her sculptures.
An ambitious Expo Chicago showed positive signs of a refined personality, an adventurous pioneering of emerging galleries and artists, as well as an exciting off-site collaboration with Palais de Tokyo.
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Among the casts of suicide vests, it is the Chapman brothers’ reworked etchings of Goya that hold the interest, drawing us in to view more closely the horrors of war.
This retrospective is nicely paced to reflect the breadth and depth in Martin Puryear’s sculptures, which draw you in with their physical and aesthetic seductions, all the better to unsettle and undermine you with the slow reveal of their ambiguities.
Mixing familiar Schütte tropes with new ones, the great German sculptor’s first London show in five years parades his eclectic, disconcerting talents.
Wales has always punched above its weight at the Biennale, and 2017 is no exception. This year – for its eighth successive appearance - the selected artist is James Richards, a multimedia artist whose work combines layers or fragments of video, sound and still images to reveal ‘the possibility of the personal amid the chaos of mass media’.
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At his first solo exhibition in London, New York artist Robert Longo talks about charcoal, photography, violence and Donald Trump.
On the occasion of his first London exhibition, at David Zwirner, Lucas Arruda discusses his almost pathological pursuit of a particular theme, revealing the macro within the micro, and how his imaginary landscapes are states of mind suspended in paint.
Cathy and Peter Halstead talk about Tippet Rise Art Center, the remarkable music venue and sculpture park they set up on a vast ranch in the wilds of Montana, and their desire to create a place with the potential for a deep relationship with art, music and the land.
Local artist Jonathan Wright delved deep into local narratives to devise his tribute to the local fishing community, Fleet on Foot. Studio International discusses the origins of this celebration of the town's remaining fishing fleet.
Reflections on the horrors of one of Syria’s most famous prisons have driven Idris Khan to new forms of expression, including bronze sculptures and abstract painting.
MoMA’s expertly curated exhibition of Bourgeois’ prints rescue the artist from her legend, revealing her drawings to have incubated, formulated and unleashed the emotions that would be entrapped in the fame of her sculpture.
Zach Blas searches for a future beyond the internet’s catch-all web at the artist’s Gasworks exhibition Contra-Internet.
At the risk of exposing the theme show as a curatorial conceit, this selection of work produced in the years opened to exploration and exclamation by war, drugs and social conflict reveals a new way of seeing it.
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Celebrated in her native Germany, Käthe Kollwitz, born 150 years ago this year, is sadly little known in the UK, but this well-selected touring exhibition of nearly 40 of her prints seeks to put this oversight to rights.
A revelatory exhibition at the Barbican liberates Jean-Michel Basquiat from his mythos and allows his art to speak for itself.
Nine contemporary artists ask what has become of reality and physicality in the age of the virtual – and imagine human existence in a digital future.
For his Portugal Venice Biennale commission, artist José Pedro Croft has made a series of six glass-and-steel sculptures that lurch and loom around the gardens of Villa Hériot, on the Giudecca. He talks about the uniquely Venetian dialogue between precariousness and permanence, as well as the monumentality and simplicity of a nearby Álvaro Siza project, both of which have inspired his project, Uncertain Measure.
The Mumbai-based artist Shilpa Gupta talks about her practice, notions of identity and nation states, and how she prefers her work to be called ‘everyday art’ rather than terming it political.
Emily Peasgood’s sound piece Halfway to Heaven is set in a Baptist graveyard, a high hump of soil, weeds and tumbling headstones wedged between a road and a terrace of houses. Studio International talked to her about its inspiration and meaning.
In her first comprehensive survey in the US, the artist and designer reveals a diverse and colourful practice that started with legendary design collective Memphis. Here, she talks about the show and moving from design to painting.
In her current exhibition at Blenheim Palace, Holzer responds to the building’s military history with more than 50 works examining the brutality of war.
This exhibition is a lively collection of works from a group of impressive and challenging artists, which together tell a powerful story of the social ills affecting the US from the Nixon years to the turn of the century.
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Following the opening of Are We All Addicts Now? at London’s Furtherfield, Katriona Beales, the exhibition’s lead artist, talks about the digital power to seduce and coerce.
This, the first New York exhibition of John Hoyland’s work in 25 years, brings together seven of his monumental stain paintings along with works on paper. Don’t miss it.
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Sara Barker’s exhibition of five wall-based relief sculptures, which opens Mary Mary’s new space in Glasgow city centre, continues her trademark fusion of sculpture and painting, abstraction and figuration, history and the present.
Ross Birrell talks horses, endurance and taking risks in relation to two works for Documenta, his film Criollo and The Athens-Kassel Ride: The Transit of Hermes, a procession of horses and riders on a 1,850-mile journey, which he describes as a ‘mobile human-equine ensemble’.
In the grounds of the UK’s first hospital to treat people with mental illness, lie a fascinating museum and gallery. To celebrate its 20th anniversary, the Bethlem Gallery is holding an exhibition of work by those, including Grayson Perry, who have been touched by mental illness.
The fourth triennial outing for this slowly regenerating UK seaside town sees curator Lewis Biggs invite a multicultural cast of artists, architects and activists to bring their sonic, sculptural, performative and visual talents to bear in revealing new perspectives on Folkestone, its identity and its potential. Studio International talked to some of the artists and organisers involved.
On the first floor cafe/bar of Folkestone’s Quarterhouse, a performance venue for music, theatre, dance and comedy, architect Ben Allen has created an ornate gothic pavilion as a “visitor centre” for the triennial. The Clearing was inspired by a request from the curatorial team for an immersive work. Studio International asked Allen where the idea for this structure came from and what it is trying to express.
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