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The Lives of the Artists: 50 years of Gilbert & George

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

Magazine Sculpture, 1969. © Gilbert & George.
Dan Colen, Sweet Liberty Gallery 2. Photograph: Prudence Cumings Associates. Copyright by Dan Colen and Victor Mara Ltd.
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.
Stan Douglas. Mare Street, 2017 (detail). C-print on dibond, print size 180 x 300 cm. © Stan Douglas. Courtesy the artist and Victoria Miro, London.
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.
Alina Szapocznikow with her work Naga (Naked), 1961. © ADAGP, Paris 2017 Courtesy of the Alina Szapocznikow Archive, Piotr Stanislawski and the National Museum in Krakow. Photograph: Marek Holzman, courtesy of the Museum of Modern Art, Warsaw.
A superlative exhibition at the Hepworth Wakefield unpacks the fleshly and sticky oeuvre of forgotten postwar great Alina Szapocznikow.
Paula Rego. Self Portrait III, 2007. Pastel on paper. Marlborough Fine Art, London.
Consummate storyteller Paula Rego brings her cast of mermaids and misfits to a town that seems forged from her own imagination.
Nicolás Herrera talking to Studio International at the Arthur M. Sackler Museum of Art and Archaeology at Peking University, September 2017. Photograph: Miguel Benavides.
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.
Yuri Pattison. context, collapse. Installation view, 2017. Courtesy the artist and mother’s tankstation limited, Dublin & London.
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. Bellboy, c1925. Oil on canvas, 98 x 80.5 cm. Centre Georges Pompidou, Paris, Musee national dart moderne Centre de creation industrielle.
Chaïm Soutine, who inspired many of the 20th century’s greatest painters, brought the strange and macabre to Paris’s most elegant haunts.
Matthias Dörfelt.
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.
Alex Katz. Crowd on Subway, c1940s. Pen, 4 7/8 x 7 7/8 in. © Alex Katz / DACS, London / VAGA, New York. Courtesy Timothy Taylor 16×34.
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’.
Cai Guo-Qiang. Photograph: Jeff Fusco Photography courtesy Association for Public Art.
Philadelphia’s most illustrious thoroughfare celebrated its 100th anniversary with a spectacular and enchanting live performance from Cai Guo-Qiang.
Claude Monet. Houses of Parliament, Sunlight Effect, 1903. Oil paint on canvas, 104.8 x 115.6 cm. Brooklyn Museum of Art.
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.
Tove Jansson. Self-Portrait, 1975. Oil, 65 x 47 cm. Private collection. Photograph: Finnish National Gallery / Yehia Eweis.
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.
Grace Weir. Credit Unfolded, Laure Genillard, 2017. Installation view.
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.
Kelly Richardson. Orion Tide, 2013-14. Dual channel HD video installation with audio. Photograph: Ruth Clark.
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.
Julie Montgarrett. Jacob’s Book, 2013. © the artist.
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.
Anni Albers in her weaving studio at Black Mountain College, 1937. Photograph: Helen M. Post. © The Josef and Anni Albers Foundation, VEGAP, Bilbao, 2017.
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.
Jasper Johns. Target, 1961. Encaustic and collage on canvas, 167.6 x 167.6 cm. The Art Institute of Chicago c Jasper Johns / VAGA, New York / DACS, London. Photograph: c 2017. The Art Institute of Chicago / Art Resource, NY / Scala, Florence.
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.
Pavel Braila. Optima, 2017. Installation, dimensions variable.
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.
Rachel Whiteread. Chicken Shed, 2017. Concrete, 216 x 229 x 278 cm. Courtesy the artist. © Rachel Whiteread. Photograph: © Tate.
In the most substantial survey of Rachel Whiteread’s work to date, the Tate looks back over 30 years of her sculptures.
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