logo studio international
Drawing on Peggy Guggenheim’s 1943 exhibition of the same name, 31 Women is a thoroughly relevant and equally captivating and surprising contemporary curation, opening dialogues across time and space
Cristóbal Balenciaga at work, Paris, 1968. Photograph by Henri Cartier-Bresson © Henri Cartier-Bresson, Magnum Photos.
The V&A presents an exhibition exploring the abstract and architectural shapes of Cristóbal Balenciaga’s work in the 1950s and 60s, drawing out connections between his legacy and contemporary fashion designers.
Tadaaki Kuwayama talking to Studio International at the opening of Radical Neutrality at the Mayor Gallery, London, 6 June 2017. Photograph: Martin Kennedy.
The Japanese-born artist recounts his refusal to dictate how spectators should view his work, his visual dialogue with Frank Stella, and the desire to void his art of meaning.
Alexander Calder. The Arches, 1959. Sheet metal and paint. 106 × 107 1/2 × 87 in (269.2 × 273.1 × 221 cm). Whitney Museum of American Art, New York; gift of Howard and Jean Lipman. Photograph: Jill Spalding.
Drawing on its extensive collection, this small but exquisite show floated by the Whitney Museum of American Art presents Alexander Calder’s balancing act as a modernist revolution whose visual vocabulary gave art another dimension.
Star Wars, Episode IV: A New Hope (US 1977). Film still. Courtesy the Roger Grant Archive.
As we see from the Barbican’s science fiction exhibition, the genre has consistently looked to the future as a means to extrapolate and accentuate the hopes and fears of the present.
Tom Phillips talking to Studio International before the opening of Connected Works at Flowers Gallery, Kingsland Road, London, 25 May 2017. Photograph: Martin Kennedy.
The artist talks about his love of words, the human drive to make marks and the more spiritual side of his work.
Jenny Crompton. Sea Country Spirits, 2016. Lorne Sculpture Biennale. Recycled copper wire, shells, feathers, roo bones, grass tree fronds and paint.
The Australian artist explains how she made her installation Sea Country Spirits, and talks about discovering her Wadawurrung heritage and how it changed her practice as she moved away from man-made materials to using materials she collects from the land.
Nathaniel Mellors and Erkka Nissinen’s talk to Studio International about their film The Aalto Natives for the Pavilion of Finland, Venice 2017. Photograph: Martin Kennedy.
Mellors and Nissinen represent Finland at this year’s Venice Biennale. They discuss handmade puppets, homemade film sets, creation myths involving eggs, the flimsy narratives on which national identities are built, and whether you have to love something in order to make fun of it.
Chris Hondros. Photograph of Joseph Duo (2003), the commander of a band of child soldiers in the army of the then Liberian president, Charles Taylor. Courtesy Sunshine Sachs/Getty Images.
Campbell talks about his film Hondros, which premiered at the year’s Tribeca Film Festival, and about his long friendship with its subject, the photojournalist Chris Hondros, who was shot and killed in Libya in 2011.
Alberto Giacometti. Bust of Diego, c1956. Plaster, 37.3 x 21.5 x 13 cm. Collection Fondation Alberto and Annette Giacometti, Paris. © Alberto Giacometti Estate, ACS/DACS, 2017.
Alberto Giacometti’s scrawny figures pulse with kinetic energy. This new retrospective at Tate Modern shows his versatility, celebrating his passion for materials other than the bronzes for which he is famed, giving a greater breadth and depth to the understanding of his work and inspirations.
Léo Caillard, from the series Hipsters in Stone, 2013. Photograph courtesy Sebastien Adrien Gallery – Paris.
The exhibition captures the ingenuity and playfulness involved in critical perception, with more than 50 artists basing works on historic artworks to form contemporary pictures.
Grayson Perry. Death of a Working Hero, 2016. Tapestry. Courtesy the artist, Paragon Press and Victoria Miro, London, Photograph Stephen White © Grayson Perry.
This exhibition delivers everything you would expect from the colourful Perry, but it is also a reminder that he is as much a part of the establishment as he is an original thinker.
Wayne Thiebaud. Cherry Pie, 2016. Oil on paper mounted on board, 8 1/2 x 10 in (21.6 x 25.4 cm). © Wayne Thiebaud/DACS, London/VAGA, New York 2017.
The quintessentially American artist is now 96 years old, and this impressive exhibition shows an array of Thiebaud’s still lifes, portraits and landscapes from across the seven decades of his career.
Jay Heikes. Heartless Ascension, 2010. Iron, bronze and rust, 99 1/2 x 200 x 67 in (252.7 x 508 x 170.2 cm). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Jay Heikes. Photograph: Jason Wyche.
The Minneapolis-based artist discusses his experimental approach to materials, the significance of music within his practice, and the role of transcendence in contemporary life.
Akram Zaatari. The Body of Film, 2017. Backlit UV print on cloth. Courtesy of the artist.
Searching for alternative historical and cultural narratives, Zaatari reveals the contents of the Arab Image Foundation through documentary film, photography and art, bringing new readings to the collection.
Joseph Kosuth. ‘Titled (A.A.I.A.I.)’ [colour] (O.E.D.), 1967. Mounted photograph, 122 x 122 cm. © Joseph Kosuth. Courtesy of the artist and Sprüth Magers.
On the occasion of his curated installation at Mazzoleni, the pioneer of conceptual art speaks to Studio International about his insistence that art must question and elicit meaning, the impoverishment of art’s critical bite under market domination, and his scepticism about art history’s objectivity.
Florian Hecker: Synopsis, installation view, Tramway, Glasgow, 2017. Courtesy Tramway,  Glasgow.
Hecker manipulates digital sound and our perception of it in this installation commissioned for Tramway.
Joyce Pensato. Homer in the Hood, 2017. © Joyce Pensato; Courtesy Lisson Gallery.
Batman, Donald Duck and Disney-style mice all loom large in the US artist’s second exhibition at the Lisson Gallery, And, although the works, all from 2017, are well-worn territory for her, she demonstrates a subtle shift in style.
Elger Esser. Enfeh I, Lebanon, 2005. C-print, Diasec, 142 x 184 x 5 cm (56 x 72½ x 2 in). Courtesy of the artist.
After his recent solo exhibition at Parasol Unit in London, the artist talks about the relationship between Lebanon and Syria, having more in common with JMW Turner than Caspar David Friedrich, and how we are programmed to view landscapes as beautiful.
Mithu Sen.
Indian artist Mithu Sen has a quicksilver practice that is difficult to categorise or maintain as a singular narrative. This, she says, is intentional – it is her effort to defy the demands of the market.
Becky Suss. Bathroom (Ming Green), 2016. Oil on canvas, 84 x 60 in. Courtesy Jack Shainman Gallery.
In her exhibition Homemaker at the Jack Shainman Gallery in New York, the Philadelphia-based artist presents a group of paintings that reflect on interiors that include objects of personal significance.
studio international logo
Copyright © 1893–2017 Studio International Foundation.

The title Studio International is a registered
trademark and, together with the content,
is bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Contact us
twitter facebook RSS feed instagram

Studio International is published by:
The Studio International Foundation,
PO Box 1545, New York, NY 10021-0043, USA