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.
This first large-scale British retrospective of work by the US-based Russian installation artists Ilya Kabakov and his wife, Emilia, is powerful, vividly varied and thought-provoking.
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.
This wishy-washy exhibition is a lesson in tenuous connections.
In his filmic and photographic portraits of architect Moshe Safdie’s abandoned 1968 housing project Habitat Puerto Rico, David Hartt explores the relationship between site, ideology and environment, at a poignant moment for a country currently struggling with environmental and economic disaster.
The curatorial mission, to showcase the influence on artists and their practice of two distinct moments of political impact – the Tiananmen Square crackdown and the failed promise of the 2008 Beijing Olympics – upends our understanding of the modern Chinese aesthetic.
The exhibition is unique as a form of intergenerational and intercultural dialogue. It brings together curatorial and artistic talent to initiate an inquiry into the legacy of the Russian revolution.
In her latest exhibition, the rather unwieldy title of which refers to the volume of space in the gallery vs that of the artist, Monica Bonvicini employs her large installations to consider notions of power, domination and control.
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.
Photographer and film artist Stan Douglas talks about his new works, which extend his interest in historical moments of rupture to the 2011 London riots.
A superlative exhibition at the Hepworth Wakefield unpacks the fleshly and sticky oeuvre of forgotten postwar great Alina Szapocznikow.
Consummate storyteller Paula Rego brings her cast of mermaids and misfits to a town that seems forged from her own imagination.
Enchanted Nature: Deforestation and the Environment, on show in Beijing, is an exhibition of 61 drawings and 12 large-scale paintings by Latin-American artist Nicolás Herrera.
In the first exhibition at mother’s tankstation project’s new London gallery, Yuri Pattison’s context, collapse examines the world in which the office is everywhere and work transcends life.
Chaïm Soutine, who inspired many of the 20th century’s greatest painters, brought the strange and macabre to Paris’s most elegant haunts.
The Los Angeles-based German digital artist talks about computer programs, his interest in bitcoin, his Donald Trump Twitterbot, and how software, coding and drawing form the pillars of his work.
As his student subway drawings go on show alongside recent paintings and sculptures at Timothy Taylor, London, Alex Katz explains why he believes content to be unimportant, and what he means by seeking only to portray the ‘immediate presence’.
Philadelphia’s most illustrious thoroughfare celebrated its 100th anniversary with a spectacular and enchanting live performance from Cai Guo-Qiang.
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.
London-based photographer Juno Calypso talks about femininity and disappointment in a man’s world.
The barren, dystopian landscapes of Kelly Richardson’s audiovisual installations are hypnotically beautiful, recalling sci-fi and Romanticism, and issuing a subtle call to arms over the catastrophic effects of climate change.
Australian artist Julie Montgarrett uses her work to explore the continent’s problematic colonial past, employing textiles and stitching to tease out the selective histories and mythologies of settler narratives.
Remaining committed to the Bauhaus ideals of uniting art and design as one field of form-production, Anni Albers’s pictorial weavings and later graphic prints promoted the egalitarian dissemination of artistic forms and prototypes.
The first comprehensive exhibition of Jasper Johns to be held in the UK in the past 40 years looks back over six decades of this great American artist’s work.
After a summer of double Documentas, the Moldovan artist Pavel Brăila is now included in the second edition of the Art Encounters Biennial in Timișoara, Romania. Here, he talks about how his home region has inspired his work.
In the most substantial survey of Rachel Whiteread’s work to date, the Tate looks back over 30 years of her sculptures.