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John Ruskin. Study of Moss, Fern and Wood-Sorrel, upon a Rocky River Bank, 1875-79 (detail). © Collection of the Guild of St George / Museums Sheffield.
Marking the bicentenary of Ruskin’s birth, this exhibition, the first of many across the UK this year, celebrates the artist-critic-collector’s intentional legacy, the Guild of St George, and his lessons in using looking and drawing as conduits to understanding
Brazilian film-maker and theatre producer Matheus Parizi.
Parizi talks about the current right-wing climate in Brazil, cuts to funding for the arts, and his new short film First Act, which he made as a direct response to the political events in his country.
Online Dating Profile Picture, Hey Saturday, London, England, 2016. Image courtesy Saskia Nelson, Hey Saturday.
Documentary photographer Martin Parr’s latest exhibition, Only Human, at the National Portrait Gallery, is all about us – us humans, but especially us British. Here, he talks about cake, collecting and Britain in the time of Brexit.
Illustration of the internal organs and acupuncture points in Shishi bessho zui. Hozumi Koremasa, 1820s. © Royal College of Physicians.
The Royal College of Physicians’ exhibition of anatomical illustrations, from medieval times to the present day, reveals the intersecting histories of medicine, art and politics, explains Under the Skin’s curator, Katie Birkwood.
Studio International spoke to Miriam de Búrca, Joy Gerrard, Mary Griffiths and Barbara Walker ahead of the opening of the exhibition Protest and Remembrance at Alan Cristea Gallery, London, 2019. Photos: Martin Kennedy.
Drawings by four contemporary female artists explore notions of protest and remembrance, from anti-Brexit marches to unconsecrated Irish burial sites, and forgotten black soldiers to former collieries in the north of England.
Mary Griffiths talking to Studio International at the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
In Protest and Remembrance at Alan Cristea, with her large abstract works of plywood, acrylic gesso and graphite, Griffiths aims to capture the splendour of the working-class engineering at a former colliery.
Kip Gresham.
This exhibition shows 40 years of work made by master printmaker Kip Gresham in collaboration with some of the best-known artists from Britain and beyond.
Magdalene Odundo: The Journey of Things. Installation view, The Hepworth Wakefield, 16 February – 2 June 2019. Photograph © Nick Singleton.
The Kenyan-born artist’s lustrous ceramics become the anchor for a voyage through three millennia of objects and artworks.
Rembrandt van Rijnb, Self-portrait with Tousled Hair, c1628–29. De Bruijn-van der Leeuw Bequest, Muri, Switzerland.
For the 350th anniversary of Rembrandt’s death, the Rijksmuseum is staging a once-in-a-generation exhibition – 22 paintings, 60 drawings and 300 prints. It is extraordinary, revealing, inspiring – and a little overwhelming.
Julianne Swartz. Joy, still, 2018. 21:38 mins, 16 channels, electronics, composed soundtracks. Commissioned by Grace Farms Foundation, New Canaan. Courtesy of Julianne Swartz Studio, Stone Ridge and Josée Bienvenu Gallery, New York City. Photo: Eva Deitch.
Swartz talks about Joy, Still, her site-specific sound installation at Grace Farms, and how the multi-use centre in Connecticut, designed by the Japanese-based firm Sanaa, became her instrument.
Erwin Wurm, Untitled (P29), 2018 (detail). Polaroid, 80 x 56 cm. Courtesy Galerie Thaddaeus Ropac, London, Paris, Salzburg. ©  Erwin Wurm/DACS, 2019.
The Austrian sculptor, famed for sheathing social commentary in comic forms, talks about absurdity, handicraft, the mass media and the future.
John Bellany, Rose of Sharon, 1973. Oil on canvas, 194 x 187 cm (76.4 x 73.6 in). Photo: Prudence Cuming Associates, The Estate of John Bellany. All rights reserved. Bridgeman Images, 2019.
From his collection, Damien Hirst has produced a tribute to the passionate and visionary work of two Scottish artists he admired.
Pascale Marthine Tayou, Plastic Bags, 2019. Presented by Richard Taittinger Gallery, New York, and Galleria Continua, San Gimignano, Beijing, Les Moulins, Havana. Photo @ Mike Vitelli.
From historical displays to recent works by relatively unknown artists, from performance to installation, from politically provocative and conceptual pieces to ornamental presentations, this year’s Armory presented a well-measured display of opposing – even conflicting – trends within the art world .
Hew Locke talking to Studio International at his London studio, 5 February 2019. Photo: Martin Kennedy.
Hew Locke discusses monarchy, nationhood, bigotry, boats, Brexit and the seductive silliness of TV’s historical dramas, before the opening of his show at the Ikon Gallery, Birmingham.
Zuza Golińska’s Run-Up (2015),  installation view, Power play, 2019, 25 January - 16 March 2019. Photo: Tim Bowditch. Courtesy Delfina Foundation, Korean Cultural Centre UK, and SongEun ArtSpace.
With work from artists from South Korea, Europe and the United Arab Emirates, this exhibition considers the nation state and the geopolitics of globalisation.
Joy Gerrard talking to Studio International at the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
In her depictions of mass protests, Gerrard aims to make visible those who attend. For Protest and Remembrance at Alan Cristea, she focuses on anti-Trump and anti-Brexit marches.
Max Burchartz. Tanzfestspiele zum 2. Deutschen tänzerkongress Essen 1928 (Dance Festival at the Second German Dance Congress) poster, 1928.  Printed by F. W. Rohden, Essen. Photolithograph. The Museum of Modern Art, New York, Purchase Fund, Jan Tschichold Collection, 326.1937. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. © 2018 Artist Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
Drawing on materials Tschichold collected, this exhibition traces his influence on graphic design between the world wars and his belief that design was a force for social change.
Caspar David Friedrich, 1989 by Claudio Parmiggiani. Black monochrome canvasses, boat. © Collezione Maramotti.
In 2007, the formidable art collection of Achille Maramotti, the man behind the Max Mara fashion house, was opened to the public. Sara Piccinini, senior coordinator of the collection, talks about the history of the collection, and the thinking behind its first rehang.
Phyllida Barlow in her exhibition cul-de-sac at the Royal Academy of Arts, London. Artwork: Courtesy the artist and Hauser & Wirth. © Phyllida Barlow. Photo: © Royal Academy of Arts, London. Photograph: David Parry.
This exhibition of new work is more pared back than we have come to expect from Barlow. Her aim, she says, is ‘to come back to what is essential’.
Imre Bak talking to Studio International at the opening of his exhibition at Mayor Gallery, London, February 2019. Photo: Martin Kennedy.
The neo-avant-gardist recalls cold war isolation, his enduring commitment to geometric abstraction, and the importance of maintaining Hungarian traditions in his art.
Makeshift, gallery view, 2018. Foreground: Brad Kahlhamer and Cleo Kahlhamer, Super Catcher/Ultra Cruiser. Background (left to right): Odili Donald Odita, Panic; Alison Elizabeth Taylor, Shed Bed Chain Link Forest Scorpion Sunrise; Greg Smith, TINA (There Is No Alternative).
Through site-specific installations, this visually splendid exhibition explores the role of the artist’s studio in contemporary practices.
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