A brief history
Simon Patterson: ‘It’s about you filling in the gaps … the viewer co...
Julian Lethbridge: Inside Out
Hans Hansen: Still Life
Harold Cohen: ‘I was probably the only person who considered the compute...
Hélio Oiticica: To Organize Delirium
Guy Yanai: ‘Every work that leaves my studio is part of an inexhaustible...
Damien Hirst: Treasures from the Wreck of the Unbelievable
Delving into coding: the art of Harold Cohen
Hanne Darboven: Korrespondenzen
Matisse in the Studio
Clare Woods: Victim of Geography
Bill Viola Retrospective
Lluís Lleó: ‘It was important to me that the sandstone came from Spain...
Stephen Chambers: The Court of Redonda – Venice Biennale 2017
Marlie Mul: ‘It’s not a refusal. It’s that, basically, nothing was p...
Andrew Rogers: I AM–ENERGY
Laura Youngson Coll: ‘The real catharsis was in the making process, beca...
Vic McEwan: ‘I played a paddle-steamer to an audience of 1,000 and used ...
Soul of a Nation: Art in the Age of Black Power
Maggie’s Centre for cancer care, Oldham
Jesse Jones: Tremble Tremble – Venice Biennale 2017
Portraying a Nation: Germany 1919–1933
Alexandra Dementieva: ‘All art is an interactive game. I am offering the...
Evgenia Arbugaeva: ‘I’m always making up stories and believing in magi...
Afruz Amighi: ‘I wanted to make a procession of characters that embodied...
Esther Rolinson: ‘Light has an immediacy. We are literally woken up by i...
Ida Applebroog: Mercy Hospital
Willow Hai: ‘The jade burial suit is the single most important object in...
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