Winslow Homer: Force of Nature
Winslow Homer. The Cotton Pickers, 1876. Oil on canvas, 61.2 x 96.8 cm. Los Angeles County Museum of Art, California. Acquisition made possible through Museum Trustees: Robert O. Anderson, R. Stanton Avery, B. Gerald Cantor, Edward W. Carter, Justin Dart, Charles E. Ducommun, Camilla Chandler Frost, Julian Ganz, Jr., Dr. Armand Hammer, Harry Lenart, Dr. Franklin D. M.77.68. © Los Angeles County Museum of Art, California.
Despite obvious sympathy for the emancipated black slaves he painted in America’s deep south, the fact that Homer was a white man has an ambiguity that resonates today
Sturtevant, The Store of Claes Oldenburg, 1967. 623 East Ninth Street, New York. © Estate Sturtevant, Paris. Courtesy Thaddaeus Ropac, London · Paris · Salzburg · Seoul.
On the 55th anniversary of Sturtevant’s radical re-creation of Claes Oldenburg’s The Store, Thaddaeus Ropac places objects from this installation alongside a filmic reworking of Paul McCarthy’s Painter, bringing to the fore the equation of art, sex, food and money.
Pacing the Void: Rhona Warwick Paterson and Eve Mutso, Mount Stuart, Isle of Bute, 2022. Photo: Helena Ohman.
The wonderment of Paterson’s words and Mutso’s choreography in an amazing atmospheric setting resulted in a powerful performance retelling of the myth of Callisto.
Ian Cheng: Life After BOB, Halle am Berghain, Berlin, 2022. © 2022 Ian Cheng. Presented by LAS (Light Art Space). Portrait of Ian Cheng by © Franziska Taffelt.
The American artist Ian Cheng explores parenthood and agency in an imagined future that sees humans and AI living in symbiosis.
Jadé Fadojutimi. 40°C, 2022. Acrylic, oil and oil pastels on canvas, 110 x 140 cm. Photo: Michael Brzezinski. Courtesy: Jadé Fadojutimi.
In this small but vibrant new body of work, Fadojutimi’s fluid and colourful paintings seek meaning in nature and our connections to it.
Marina Perez Simão. Untitled, 2022. Oil on linen, 78-3/4 × 96-7/8 in (200 × 246.1 cm). © Marina Perez Simão, courtesy Pace Gallery and Mendes Wood DM. Photo: Everton Balardin.
Simão’s works have great appeal, and her fantastical futurism chimes with an art world currently in thrall to the realms of science fiction.
Wangechi Mutu, She Walks, 2019. Red soil, charcoal, paper pulp, wood, wood glue, steel nails and synthetic hair, 82 7/10 x 39 4/5 x 20 1/10 in. Photo: Courtesy of the Artist and Victoria Miro, London.
The third in a series of four essays that relate visual art and literature; here interlacing the works of Octavia Butler, Orlan, Valentine de Saint Point, and Mary Shelley to orient thoughts on the transhistorical power of Wangechi Mutu’s sculpture and film   .
Jo Bruton. Cabaret, 2000. Acrylic and glass beads on canvas, 210 x 273 cm (each panel 210 x 135 cm). Copyright the Artist, Image Courtesy Richard Saltoun Gallery London and Rome, and Matt's Gallery, London.
Inspired by the American Pattern and Decoration Movement, Lee and Bruton emerged in the 1980s and cut through male-dominated preconceptions of what abstract art should be.
Permindar Kaur talking to Studio International at the opening of Outgrown at The Art House, Wakefield. Photo: Martin Kennedy.
The sculptor talks to us about her playful use of the domestic realm to explore feelings of belonging and cultural identity.
The entrance of the in the metaverse Voxels
A museum that exists entirely in the metaverse is generating new opportunities for Brazilian artists.
Benji Reid. The Proposition, 2020. Giclée print, 100 x 95 cm. Copyright Benji Reid. Courtesy the Artist and October Gallery, London.
Aware of Africa’s past and confident in its future, four contemporary artists shed fresh light on the continent’s sociocultural heritage in this uplifting exhibition.
Henri Matisse. The Red Studio, 1911, Issy-les-Moulineaux. Oil on canvas, 181 x 219.1cm. The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund.
Henri Matisse’s landmark painting is brought to life, shown with the artworks it portrays for the first time since they were together in the artist’s studio. Archival materials detailing its wild history and other related Matisse works complete this radiant exhibition.
Melissa McGill in Venice. Photo: Peter Fleissig.
The multimedia artist reveals how a two-year stay in Venice shaped her career and why water features so often in her works, and explains her use of traditions and personal reflections to bring people together to address climate change.
Cooking Sections and Sakiya: In the Eddy of the Stream, Inverleith House, Royal Botanic Garden Edinburgh, 2022. Photo: Shannon Tofts.
Two collectives, one from Scotland and one from Palestine, come together as part of the science centre’s three-year Climate House exhibition programme in a thought-provoking contribution to the ecological crisis.
Sascha Wiederhold, Archers, 1928. Oil on cardboard on canvas, 204 x 240 cm. National Museums in Berlin, National Gallery, acquired in 2021 by the Ernst von Siemens Art Foundation. Photo: Galerie Brockstedt © Sebastian Schobbert © legal successor Sascha Wiederhold.
The great museum of modern German art reintroduces the world to Sascha Wiederhold, chronicler of Weimar Berlin’s jazz age.
Mariana Castillo Deball. Photo: Victoria Tomaschko.
Castillo Deball discusses her interest in history and how artefacts and their re-creations are viewed, and talks about Roman Rubbish, her installation at the London Mithraeum Bloomberg Space, which takes as its starting point the 14,000 artefacts discovered at the site.
Vivienne Binns in her Curtin studio (Canberra), 1992. Photo: Alex Fiveash, courtesy of the artist.
This comprehensive and fascinating show includes 60 years of eclectic and experimental work by one of Australia’s most significant feminist artists.
Bill Lynch: The Exile of Dionysus. Installation view, Brighton CCA, 2022. Photo: Rob Harris.
Lynch was overlooked in his lifetime, his career cut short by an early death, but this small exhibition shows the power of this enigmatic artist’s works.
Isaac Julien: Once Again … (Statues Never Die), 2022. The Barnes Foundation, installation view. Image courtesy Isaac Julien and Victoria Miro, London/Venice. Photo by Henrik Kam.
Julien’s immersive five-screen installation exploring the relationship of US art collector Albert C Barnes and the philosopher and critic Alain Locke looks back over 100 years of black and white division, raises thorny issues, unafraid to tackle ambiguities and complexities.
Frank Bowling. Bulbul, 1988. Welded steel, 68 x 70 x 60 cm.
An exhibition and monograph explore the painter’s near-forgotten sculptures, while discovering the sculptural in his canvases.
Casa Balla, living room. Photo: Joe Lloyd.
The futurist painter Giacomo Balla transformed his Roman apartment into a complete work of art. Now, thanks to the Maxxi Museum, Rome's authorities and Balla’s heirs, it is open to the public.
Dante Gabriel Rossetti. Reverie, 1868. Coloured chalk on tinted paper, 86 × 72 cm. Ashmolean Museum, University of Oxford.
Tender portraits and works inspired by nature, art and poetry fill this beautiful and intimate show.
Robin Greenwood, studio show installation view. Image courtesy of the artist.
In this show of work by’s founder, abstract paintings vie with sculptures that veer between small but complex spatial explorations and larger works of sheer material exuberance.
Oksana Chepelyk. Лист з України / Letter from Ukraine, 2014. Film, HD (1920 x1080 px), colour, sound, 7:32 min. © Oksana Chepelyk. Courtesy of the artist.
The curator explains why, for her show at the Fridman Gallery in New York, she chose female artists to narrate the story of the war, and to widen the theme to draw in people with no prior interest in the region.
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