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True Colours, curated by Damien Hirst for his Newport Street Gallery in London, shows works by Beard, Laska and Saville. We talked to the three artists about the works they have in the show
Boo Saville talking to Studio International at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
Boo Saville’s fields of colour shimmer, each massive painting drawing you in and, once you are up close, their surfaces seem to conjure immersive spaces, as though the air has suddenly been coloured and there is space to fall in. Such a physical and emotional impact is reminiscent of Rothko’s Chapel in Houston, where his 14 black and coloured hue paintings cover the internal space.
Thomas Cole. The Course of Empire: The Pastoral or Arcadian State, c1834. Oil on canvas, 99.7 × 160.6 cm. Courtesy of the New-York Historical Society. © Collection of The New-York Historical Society, New York / Digital image created by Oppenheimer Editions.
A fresh look at the paintings of British émigré Thomas Cole reveals some eerily relevant messages for our current times.
Eve Fowler. Photograph: Steven Perilloux.
The artist talks about her latest exhibition, What a slight, what a sound, what a universal shudder, at Dundee Arts Contemporary, and what has led her to engage so closely with Stein’s work.
James Edgar and Sam Walker talking to Studio International about Assembly Point, London, 25 April 2018. Photograph: Martin Kennedy.
James Edgar and Sam Walker talk about Assembly Point, their co-founded gallery, studio space and publishing company, which they set up in 2015 in south London.
Sarah Morris. Big Ben [2012], for Art on the Underground, Gloucester Road station, London, 11 June 2012 – 1 September 2013. Photograph: Thierry Bal.
Pinfield is Head of Art on the Underground, which has commissioned work by Cindy Sherman, David Shrigley and Assemble, among others. She talks about this year’s lineup of female artists and the desire to bring art to millions of travellers.
KAYA (Kerstin Brätsch and Debo Eilers), Portrait, 2018. Photograph: Daniele Molajoli.
Brätsch is an artist who works in the afterlife of modern painting, upending its history and mythology with Rabelaisian glee – and her latest exhibition is no exception.
Callum Innes with Delft. Photograph: Veronica Simpson.
Five of Innes’ paintings form the inaugural exhibition for the Ingleby gallery’s new space, an austere building formerly used for worship that has been beautifully refurbished. Together, the art and architecture provide a fitting 20th-anniversary celebration for the gallery.
Eugène Delacroix. Greece on the Ruins of Missolonghi, 1826. Oil on canvas, 209 x 147 cm. Musée des Beaux-Arts, Bordeaux © Musée des Beaux-Arts, ville de Bordeaux. Cliché L . Gauthier, F . Deval.13
A colossal retrospective at the Louvre liberates the French romantic from his early history painting and reaffirms his lofty place in the pantheon.
Harriet Middleton-Baker. Photograph: Naomi Shimada.
The artist talks about unpicking the story of William Hogarth’s A Harlot’s Progress and using her latest opera to explore architectural form, power distribution and the ambivalence of feminism in a corporate climate.
Ettore Spalletti. Courtesy of the artist and Galerie Marian Goodman Paris.
On the opening of his exhibition at the Galerie Marian Goodman, the Italian artist recounts his ritualistic process, the elusiveness of colour and why paintings should be like churches.
Sadie Laska talking to Studio International at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
New York-based Sadie Laska, who is both a painter and a drummer, brings her improvisation skills into her wall-based works, using collage, small objects and brushed colour in flight. Each work embraces the tactility of materials and the motion of thoughts and actions in the process of making.
Phoebe Cunningham. I am One With the People, 2018. Video installation, approx 10 mins, loop.
Surreal, witty and at times unsettling, Whitstable Biennale 2018 is full of surprises.
Studio of Katharina Grosse, Berlin, 2018.
Across 11 portrait canvases and one enormous fabric hanging, Grosse’s complex, multilayered works appear as seemingly prehistoric scrawls, imbued with vital energy in a maelstrom of colours.
Junya Ishigami at the exhibition Junya Ishigami, Fondation Cartier pour l’art contemporain. Photograph © Renaud Monfourny.
In his attempts to untether architecture from well-worn conventions, the Japanese architect liberates the architectural expedition from its own stolid norms.
Vera Molnár talking to Studio International in her Paris studio, 11 July 2017. Photograph: Martin Kennedy.
The pioneer of computer-assisted art recounts her love affair with lines, the balancing of order and chaos, and preparing to be surprised.
Phyllida Barlow, Quarry, 2018. Photograph: Anna Kunst, courtesy Jupiter Artland.
As her first permanent artwork, Quarry is unveiled at Jupiter Artland, outside Edinburgh, Barlow talks about its conception and creation, its location in the woods surrounding the house and gardens, and the ‘horrifying’ experience of ceding control to engineers and construction teams.
Li Wang. Beauty Series 1-4, 2015. Chinese woodblock print with water-based colour, 32 x 20 cm.
A microcosm of Chinese art and social change at Ipswich Art Gallery – this group show of works on paper by contemporary artists from China draws on, plays with and subverts the canons of art history from both the east and the west.
Celia Pym in her studio, 2018. Photograph: Janet McKenzie.
Describing herself as ‘an artist who works in textiles’ Pym talks about her recent surgery for mending at the V&A, why she mends old clothes and artefacts, and why she feels it is so important to see the damage and the repair.
Fergus McCaffrey.
Since founding his New York gallery in 2006, Fergus McCaffrey has been instrumental in introducing postwar Japanese art to a western audience. He talks about his deep attachment to Japanese art and craft and his hopes for his new gallery in the heart of Tokyo.
Bedwyr Williams. Tyrrau Mawr, 2016. © Bedwyr Williams. Courtesy of the artist.
The Hayward Gallery’s group show suggests future survival will demand that humans adjust to changing circumstances rather than adapting the environment to maintain their current mode of living.
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