logo studio international
Aubrey Beardsley. The Lady with the Rose Verso, 1897 (detail). Harvard Art Museums/Fogg Museum, Bequest of Scofield Thayer.
In the largest exhibition of Beardsley’s drawings for 50 years, we see evidence of his exquisite practice and a dedication to drawing in a painfully short life and career
From a drawing in illustration of Mr. Oscar Wilde's ‘Salome’ by Aubrey Beardsley (detail). In A New Illustrator: Aubrey Beardsley, The Studio, An Illustrated Magazine of Fine and Applied Art, Vol 1, No 1, April 1893, page 19. © Studio International Foundation.
This article was first published in The Studio, Vol 1, No 1, April 1893, pages 14–19.
Marilyn Minter. Orange Crush, 2009. Enamel on metal, 108 × 180 in (274.3 × 457.2 cm). Courtesy of the artist and Salon 94, New York. © Marilyn Minter.
Featuring artists including Marilyn Minter, Derrick Adams and Wong Ping, the Savannah College of Art and Design’s 11th iteration reflected its international outreach.
Tomás Saraceno, Aria installation at Palazzo Strozzi, Firenze. Photo ® Ela Bialkowska, OKNO Studio 2020.
Saraceno’s utopian visions for a future without fossil fuel or boundaries – and his admiration for spider technology - make for a compelling show.
Alan Hunt, Grouse, 2020. Western Red Cedar, acrylic, feathers and found materials. Still: Atlakim ‘Dance of the Forest Spirits’ ceremony, St Cecilia's Hall, 2020. Image courtesy Talbot Rice Gallery, The University of Edinburgh.
From rejecting cultivated gardens in favour of wild spaces to using traditional craft rather than modern techniques, the artists in this show throw new light on how we look at the world.
Hans Hofmann, The Virgin, 1946. Oil on board, 104.8 x 77.5 cm. Courtesy Bastian. With permission of the Renate, Hans & Maria Hofmann Trust / Artists Rights Society (ARS), New York.
A concise exhibition at Bastian captures the German-American painter manoeuvring between modernisms, endlessly experimenting in his attempt to marry the expressive with the pictorial.
Mary Weatherford. Nagasaki, 1989. Oil on canvas, 82 x 82 1/4 in. Collection of the artist.
This first survey show for the artist features work from 1989 to 2015 and reveals the experimental nature of her use of scale, colour and materials.
Maurice Burns. Junior Wells, 2017. Oil on canvas, 30 x 30 in. Image courtesy the artist and Gerald Peters Contemporary.
The artist talks about his current exhibition at Gerald Peters, his first show in New York, his complex, collage-like paintings, his friendship with RB Kitaj and listening to Thelonious Monk and John Coltrane while he paints.
Marion Greenwood. Construction Worker (study for Blueprint for Living, a Federal Art Project mural, Red Hook Community Building, Brooklyn, New York), 1940. Fresco mounted on composition board, 18 x 24 1/2 in (45.7 x 62.2 cm). Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York; gift of Mrs. Patricia Ashley.
Following the Mexican Revolution of 1920, art that reflected the country’s traditions and social ideals blossomed – and, for a while, the US fervently embraced it.
Naum Gabo. Head No. 2 1916, enlarged version 1964. Steel, 176 x 124 x 124.3 cm. The Work of Naum Gabo © Nina & Graham Williams / Tate, 2019.
This first major British survey of Gabo’s work in more than 30 years includes paintings, drawings, architectural designs and sculpture and shows his enduring influence on architects and designers.
Ralph Griffin, Eagle, 1988. Photo: Stephen Pitkin, Pitkin Studio.
Through the work of more than 20 African American artists, this show explores the soul-stirring art of the American deep south, and the stories behind it.
Aubrey Beardsley. In Memoriam. The Studio, An Illustrated Magazine of Fine and Applied Art, Vol 13, 1898, page 253. © Studio International Foundation.
Death has given Aubrey Beardsley the immortality of youth; and in future histories of illustration, whether for blame or praise, men must needs add that it was a mere boy who did these things, and did them as no other had ever attempted to do them before.
Formafantasma, Cambio, installation view, Serpentine Sackler Gallery, London, 4 March – 17 May 2020. Photo: George Darrell.
From an ancient forest to an Ikea stool, from musical instruments to makeup brushes, Andrea Trimarchi and Simone Farresin show the effect on trees of our insatiable desire for new designs.
Janet Laurence with her work Solids by Weight, Liquids by Measure from the Periodic Table series, 1993.
A leading contemporary artist in Australia, Laurence talks about colonialisation and using her art to address the fragility of nature and climate change.
Julijonas Urbonas, A Planet of People, 2020. Installation view, Collective, Edinburgh. Photo: Tom Nolan.
In this fascination fusion of art and science, the Lithuanian artist imagines sending visitors into outer space to create a new artificial planet made solely by human bodies.
David Hockney. Mother, Bradford. 19 Feb 1979. Sepia ink on paper, 14 x 11 in. © David Hockney. Photo: Richard Schmidt, Collection The David Hockney Foundation.
In the first major exhibition of David Hockney’s drawings for 20 years, a focus on just a handful of sitters amplifies the importance of drawing in a career that has sustained Hockney for more than half a century.
Alaska Native artist. Engraved Whale Tooth, late 19th century. Sperm whale tooth, black ash or graphite, oil, 6 1/2 × 3 × 2 in (16.5 × 7.6 × 5.1 cm). Brooklyn Museum; Gift of Robert B. Woodward, 20.895. Creative Commons-BY. Photo: Brooklyn Museum.
This exhibition documents the hardships faced by Indigenous people from across the Americas as a result of climate and environmental changes – and should be a salutary tale to us all.
Grayson Perry. Claire as a soldier, 1987. Private collection. © Grayson Perry, courtesy the artist and Victoria Miro.
If you can move beyond the small size of the venue and the incongruity of hermetically sealed display vitrines, this show provides a chance to view Perry’s raw, angry and provocative early works.
Hedda Sterne, installation view, Victoria Miro Mayfair, London, 29 January – 21 March 2020. © The Hedda Sterne Foundation Inc, ARS, NY and DACS, London 2019. Courtesy Van Doren Waxter and Victoria Miro.
Long-known as ‘the only female at the birth of abstract expressionism’, Romanian-born Sterne always denied being an abstract painter, and this gem of an exhibition makes it clear why.
Michelangelo Merisi da Caravaggio, The Crowning with Thorns, Rome, c1603. Oil on canvas, 127 cm x 165.5 cm (50 x 65.2 in). Vienna, Kunsthistorisches Museum.
This is the first major exhibition to pair the greatest painter of the baroque period with its greatest sculptor, along with several of their most accomplished followers. It’s a winning combination.
Thomas Martine Ronaldson. Summer, 1928. Oil on canvas. © Manchester Art Gallery, purchased from the artist in 1929.
This takes us to an interwar Britain where hope and modernism blossomed, changing the face of everything from art and architecture to fashion.
studio international logo
Copyright © 1893–2019 Studio International Foundation.

The title Studio International is the property of the
Studio International Foundation and, together with
the content, are bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Cybernetic Serendipity
CyberArt 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