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Having just installed 10, mostly blown-glass pieces around Canterbury Cathedral for their exhibition Under an Equal Sky, Philip Baldwin and Monica Guggisberg talk about these new works and the resonance between their historic setting and their chosen issues of migration, diversity and community
Helen Beard, Sadie Laska and Boo Saville talking to Studio International at their exhibition True Colours at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
True Colours, curated by Damien Hirst for his Newport Street Gallery in London, shows works by Helen Beard, Sadie Laska and Boo Saville. We talked to the three artists about the works they have in the show.
Helen Beard talking to Studio International at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
Helen Beard’s striking and marvellously simplified, flat colour images, take you by surprise in a number of ways. The fresh colour forms pack a satisfying punch even before the viewer has undergone the gradual realisation that the paintings portray a varied range of sexual acts.
Catherine Parsonage. Suddenly Every Wednesday, 2017. Acrylic on canvas, 122 x 183 cm. © the artist.
The artist talks about how living in Rome has changed her work, why she is so interested in bodily fluids, and the role that alcohol and desire play in her painting.
Manuel Mathieu. Loyalty, 2017. Mixed media, 70 x 80 in. Photograph: Guy L’ heureux.
The Haitian artist talks about coming to terms with his country’s turbulent history and some personal challenges, and why he doesn’t take the business of making art lightly.
August Sander. Boxer (Boxers), 1929 (printed 1972). Gelatin silver print, 80.2 x 60 cm (31 5/8 x 23 5/8 in). Photograph: Genevieve Hanson. © Die Photographische Sammlung/SK Stiftung Kultur - August Sander Archiv, Cologne / DACS 2018.
Taken together, the portraits shown here, captured by the German photographer between 1910 and 1931, are a quiet revelation, a unique and emotive window into the collected lives of his countrymen and women in the interwar period.
Divest UAL ‘Die-in’, Central Saint Martins College, London, 2015. Photograph: Georgia Brown.
A reader at the University of the Arts London, Cross talks about his struggle to persuade the university to cut ties with fossil fuel investments and his continuing efforts to bridge the gap between commerce and environmental ethics.
Joan Vasoncelos, 2018. Photograph: Anna Kunst, courtesy Jupiter Artland.
Vasconcelos’s solo show offers a riot of colour and texture in this highly personal, curated sculpture park, celebrating the duality – the glamour and the grind, the dreams and the heartbreak – that typifies women’s lives, on a monumental scale.
Nigel Shafran. London 1994. From Works Books 1984 – 2018. © the artist, courtesy of Sion and Moore.
Newly established gallery project Sion and Moore combines the creative experiences of its two founders with the craft of designer Michael Marriott, achieving an intriguing environment in which to view Nigel Shafran’s tantalising Work Books.
Installation view, Jane Irish: Antipodes, courtesy of the artist, Lemon Hill and Philadelphia Contemporary.
For the first time in its 200-year history, a mansion in Philadelphia is transformed into a major public art project by American artist Jane Irish. She talks about a career spent exploring anti-war activism.
The Ol' Switcheroo, Performance, 2018, Sophie Jung (centre), Sarah Duffy (right), Rebecca Lennon (far right). Courtesy of the artists and Jupiter Woods.
This group exhibition, by the artists Rebecca Lennon, Sarah Duffy and Sophie Jung with curator Carolina Ongaro, is like a brimming basket of foraged goods, a container for ever-changing stories.
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.
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