This extraordinary retrospective unites Modigliani’s portraits and sculpture with the largest collection of his nude paintings ever shown together in the UK, as well as allowing visitors a virtual reality tour of the artist’s Paris studio
At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruins of a Psychiatric Unit uses a derelict mental hospital as metaphor for the turmoil of psychological trauma.
Through her latest work, a multichannel video installation entitled Faith in friction that features Choksi and her friends, the artist considers how the self is necessarily formed through engagement with others.
In the mid-20s, a group of largely working-class men came together in the East End of London and began to paint under the tutelage of John Cooper, finding fame for their realistic depiction of urban life. After 80 years in the wilderness, two exhibitions aim to revive their reputation.
This exhibition lacks coherence and has little to say about the influence British artists had on the French impressionists, but is redeemed by paintings of the Thames, the highlight of which are eight works by Claude Monet.
Studio International visited the Dulwich Picture Gallery to view the Finnish artist Tove Jansson’s first retrospective exhibition in the UK. She is well-known as the creator of the Moomins, but as this major retrospective makes clear, Jansson’s work encompasses many creative disciplines.
In Irish film artist Grace Weir’s latest exhibition, Unfolded, past and present, the real and representational repeatedly elide. Here, Weir talks about her work and about challenging notions of fixity in art, physics and philosophy.
To coincide with the 50th anniversary of the artists’ meeting, we publish Gilbert & George’s Magazine Sculpture, first displayed in a black-and-white, censored version in Studio International’s May 1970 edition.
This exhibition considers abstract expressionism through its Asian-American practitioners, with a focus on Hawaii’s artists, as it brings them together with their US counterparts, such as Willem de Kooning, Mark Rothko and Jackson Pollock.
The French architect Jean Prouvé was a radical modernist whose graceful prefab buildings used cutting-edge techniques to further his socially progressive ideals. In an era of housing shortages and mass migration, his work is powerfully relevant – as this extraordinary exhibition demonstrates.
Zarah Hussain (b1980, Cheshire, UK) places her work at “the intersection of science and spirituality”. She combines a lifelong fascination with – and extensive training in – hand-drawn Islamic geometry with the latest digital software to create hypnotic, looping animations made with code. Her work also encompasses apps, paintings and sculptures.
Herrera’s abstract, geometric paintings pulse with life in this solo show. She was discovered late – she sold her first painting in 2004, at the age of 89 – and her work has a concentrated intensity that speaks of many decades of quiet, unsung dedication.
Vanessa Baird’s vivid, illustrative pastels depicting domestic chaos and drowning refugees make for an immersive experience in her new solo show, You Are Something Else, at Oslo’s Kunstnernes Hus. This and other new public commissions in Oslo indicate an artist coming into her prime.
Political activist and Pussy Riot member Maria Alyokhina talks to Studio International at the Saatchi Gallery about fighting government propaganda and the support the group receives from fellow artists.
From glass whoopee cushions to a vast US flag to cartoon characters, Colen’s works, which use everything from chewing gum to cigarette butts and plastic bottles, are ambitious in scale, colourful, bombastic and highly varied.