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Julien Creuzet: Too blue, too deep, too dark we sank …, installation view, Camden Art Centre, London, 14 January – 13 March 2022. Photo: Rob Harris.
Sculpture, film and music blend in the French-Caribbean artist’s striking exploration of the legacy of colonialism on African cultural heritage
Georg Baselitz: The retrospective, installation view, Centre Pompidou, Paris, 20 October 2021 – 7 March 2022. Photo: Ana Beatriz Duarte.
This show, which spans the six decades of Baselitz’s career, highlights key periods in his output and his lifelong artistic experimentation.
Art On Wheels, 1966. Video, 01:26 mins. Courtesy of British Pathé Archive.
Through archival ephemera, photographs, posters and letters, this show documents the history of three independent galleries that had a profound influence on the contemporary art of their time.
Katya Kvasova.
The artist talks about her interest in hands, her artistic training, and her method of layering graphite powder and translucent colour on to the canvas, allowing the light to eat the image.
Clea T. Waite, Moonwalk.  Experimental film with sound design by Helga Pogatschar, 2010/2021.
This exhibition brings together documentary and artistic material exploring the history of ideas of the conquest of the cosmos as well as the chaotic state of our own planet. It is dedicated to the 60th anniversary of man’s first flight into space.
Shahzia Sikander. Photo: Andrea Rossetti.
The artist talks about the problems surrounding the telling of any history, and how collaboration forms the backbone of her practice.
Anselm Kiefer: Pour Paul Celan, Grand Palais Éphémère, Paris. Photo: Ana Beatriz Duarte.
Here, in four installations and 19 vast canvases, Kiefer creates a dialogue with the work of Paul Celan, the great German-language poet who has influenced the artist’s output since adolescence.
The Spanish artist discusses her fascination with geology and botany, how public sculpture assists in the creation of place, and the importance of remaining alive to nature in urban design.
Life Between Islands: Caribbean-British Art 1950s - Now, installation view, Tate Britain, London, 1 December 2021 – 3 April 2022. Tate Photography.
Featuring 46 artists, this long-overdue examination of the complex interrelationship between the Caribbean and Britain tackles the nature of identity, belonging and what it means to be caught between cultures.
Elizabeth Murray. 96 Tears, 1986-87. Oil on canvas, 115 x 130 1/2 x 18 in (292.1 x 331.5 x 45.7 cm). © 2021 The Murray-Holman Family Trust / Artists Rights Society (ARS), New York. Courtesy of The Murray-Holman Family Trust and Gladstone Gallery.
Expansive, exuberant and looking as fresh as if they had just been made, the five works on show here are a joyous tribute to the artist’s endless vitality.
Bárbara Wagner & Benjamin de Burca, Swinguerra, 2019. Courtesy of the artists and Fortes D’Aloia & Gabriel, Sao Paulo/Rio de Janeiro.
Fact and fiction overlap in this documentary-style film, as mainly black and LGBT characters use dance as a way to assert themselves in a country whose president is openly homophobic.
Khvay Samnang, Calling for Rain, 2021. Film still. Courtesy Khvay Samnang and National Gallery Singapore.
Khvay Samnang uses Cambodian dancers to conjure stories of environmental disaster and recovery, and Amartey Golding combines sculptures woven from human hair and the V&A’s opulent interiors to send a message about humanity’s potential for cruelty and also healing. They add up to a powerful combination.
Henri Chopin: The (Almost) Complete Books, Zines and Multiples (1957-2007), installation view, the Leicester Gallery, De Montfort University, 27 November 2021 – 29 January 2022. Photo: Bronac Ferran.
Next year marks the centenary of the poet’s birth and this show, which includes more than 400 of his sound, film and printed works, is the first step in bringing much-needed attention to this pioneering artist.
Anna Ray: Fibre and Form, installation view, St Albans Museum + Gallery, Weston Gallery. Photo: Rob Harris.
This joyous explosion of colour, pattern and entangled loops of fabric leaps off the white walls of the gallery, banishing all thoughts of doom and gloom, and embodying the power and energy of art as a healing form.
Howardena Pindell, Free, White and 21, 1980. U-matic, colour and sound, 12 min 15 sec. Courtesy of the artist, Garth Greenan Gallery, New York and Victoria Miro.
Pindell is unafraid to tackle police violence or slave massacres in her videos and paintings, and even her abstract works have an element of close observation and bearing witness.
Ray Harryhausen (1920-2013)
animating a skeleton model from The 7th Voyage of Sinbad, 1958. © The Ray and Diana Harryhausen Foundation.
From the skeleton army in Jason and the Argonauts to the Kraken in Clash of the Titans, the monsters that the master of special effects conjured up are both terrifying and beautiful.
John Nash, Harvesting, 1946. Lithograph poster. Courtesy of Private Collection.
Remembered for the moving scenes of the first world war he painted as an official war artist and the gentle English landscapes he painted on his return, he was also a masterful illustrator.
Coral Woodbury. Photo: Myke Yeager.
Woodbury talks about her solo show at HackelBury Fine Art and what led her to use old books to redraw the history of art and make the invisible visible.
Karlo Kacharava, English Romanticism, 1992. Oil on canvas, 100 x 100 cm. © The Estate of Karlo Kacharava. Courtesy: The Estate of Karlo Kacharava, Tbilisi, Georgia and Modern Art, London. Photo: Robert Glowacki. 
The referential, finely wrought paintings and drawings of the rediscovered Georgian artist prove inscrutable but seductive.
The World According to Colour: A Cultural History by James Fox, published by Allen Lane.
Oddly, a squashed fly triggered art historian James Fox’s fascination with colour and, in this ambitious study, he takes us on an epic journey showing the significance of various colours across the ages.
Sarah Morris. Patrol [Spiderweb], 2021. Household gloss paint on canvas, 84 1/4 x 106 11/16 in (214 x 271 cm). © Sarah Morris. Photo © White Cube (Tom Powel Imaging).
Through paintings, film and drawings, Morris explores time and space, and her fascination with networks and communities is all the more understandable in the light of their enforced severance during Covid-19 lockdowns.
Danny Fox. The Blind Man, 2021. Acrylic on canvas, 39 3/8 x 47 1/4 in (100 x 120 cm) © Danny Fox, 2021. Image courtesy of Saatchi Yates.
Inspired by St Ives painters such as Ben Nicholson and Alfred Wallis, Danny Fox paints his home town, turning the people and places around him into half-imagined figures in a world of legend.
Lubaina Himid, installation view, Tate Modern, London, 25 November 2021 – 5 July 2022. Photo © Tate (Sonal Bakrania).
This is the Turner-prize winner’s largest solo show to date and it does not disappoint.
Adeniyi-Jones talks about his new paintings in That Which Binds Us, his first solo show at White Cube Bermondsey.
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