London’s Arts Labs and the 60s Avant-Garde, book cover, designed by David Curtis.
From a naked man flinging himself into a giant jelly to a 24-hour piano recital to John Lennon and Yoko Ono’s first joint show, London’s experimental art scene of the 1960s changed the face of art in the UK. David Curtis’s book is a fascinating look at the counterculture and the artists who made it possible
Rino Claessens, Scraped Earth stools.
It is known as a showcase for critical, speculative and multidisciplinary design projects that make us question the how and the why of design, as much as the what and the who. How did 2020’s virtual version fare?.
Kehinde Wiley, Narrenschiff, 2017. Three-channel projection, installation view, Levinsky Gallery, University of Plymouth, 2020.
Wiley’s first foray into film depicts a scene of young black men in the sea, struggling to reach land. It is a poignant meditation on migration, exclusion and social dislocation, yet it is not without hope.
Alfred Wallis. Two ships and steamer sailing past a port – Falmouth and St. Anthony lighthouse, c1931. Oil on card, 26.3 x 40.9 cm. Courtesy of Kettle’s Yard, University of Cambridge.
This show explores the works of the fisherman-turned-artist who painted the souls of boats and inspired a generation of modernists.
To mark the 50th anniversary of this pioneering publication and exhibition, Cybernetic Serendipity: The Computer and the Arts has been reprinted and is available to purchase.
Eleanor Bartlett. Photo: Ash Mills.
The artist talks about why she favours working with bitumen, metal paint and wax and why colour is dangerous.
Portrait of Michael Armitage. © White Cube, George Darrell.
The British Kenyan painter’s first institutional show demonstrates his remarkable development, while allowing space for his neglected East African influences.
Bruce Nauman. Black Marble Under Yellow Light, 1987. Installation view, Tate Modern. Photo: Tate Photography (Matt Greenwood). Artwork © Bruce Nauman / ARS, NY and DACS, London 2020.
Bruce Nauman’s work explores language and perception in a manner that is at times irksome or troubling, or both, but it is worth the effort.
Henri de Toulouse-Lautrec. The troupe of Mademoiselle Eglantine, 1896. Photo © Musée d'Ixelles-Bruxelles / Courtesy of Institut für Kulturaustausch, Tübingen.
This fantastic exhibition of belle époque posters, by Parisian artists who used developments in colour lithography and the burgeoning advertising industry to create celebrity for themselves and the stars of cabaret and stage, is now online, delivering the joys of turn-of-the-century Montmartre to your living room.
Ali Kazim. Topi Walah II (Man with Prayer Cap), 2006. Pigments and pressure printing on wasli paper, 50 x 75 cm. Collection V&A, London. image © Ali Kazim studio.
The artist talks about looking to ancient civilisations for inspiration, why he doesn’t like working with a sitter in his studio, and how his practice changed during lockdown.
Magazzino Italian Art, Cold Spring, New York. Photo: Marco Anelli.
This lush, even glamorous exhibition is curated by Mel Bochner and comprises 18 works by himself, Alighiero Boetti and Lucio Fontana, as he seeks to show the connective threads that bind them.
Zoé Ouvrier and Arik Levy. © Photo: Nelo Hagen, 2019.
Ahead of their first joint exhibition, Beyond Nature, the artists talk about their relationship to nature, materiality, process and one another.
Nicole Eisenman, Fountain, 2017, installation view, Hauser & Wirth Somerset 2020. © Nicole Eisenman. Courtesy the artist and Hauser & Wirth. Photo: Ken Adlard.
Nicole Eisenman’s first solo UK presentation for Hauser & Wirth Somerset showcases her large sculptures and new innovative pulp paper works.
Michael Clark: Cosmic Dancer. Michael Clark with works by Silke Otto-Knapp Barbican Art Gallery, 7 October 2020 – 3 January 2021. © Tim Whitby/Getty Images.
Through film, sculpture, painting, costume and photography, this wild party of an exhibition celebrates 40 years of Clark’s work, extending beyond modern dance to visual art, music, costume and set-design.
The Studio: An Illustrated Magazine of Fine and Applied Art, Vol 1, No 1, April 1893.
The Studio: An Illustrated Magazine of Fine and Applied Art was first published in April 1893. It introduced the young illustrator Aubrey Beardsley to the world and quickly became the world’s most successful art magazine.
Ann Veronica Janssens, Bike, 2001. Installation view at Louisiana Museum, Copenhagen, 2019. Photo: Poul Buchard / Brøndum & Co.
The Belgian artist discusses her perception-bending work, currently on display at the South London Gallery.
Rashid Johnson. Broken Crowd, 2020 (detail). Ceramic tile, mirror tile, spray enamel, oil stick, black soap, wax, 240.7 x 403.9 x 3 cm. Photo: Martin Parsekian. © Rashid Johnson. Courtesy the artist and Hauser & Wirth.
Is the message of Rashid Johnson’s new show helped or hindered by the repetitive motifs and elaborate detail?.
María Berrío. The Combed Thunderclap, 2020. Collage with Japanese paper and watercolour paint on canvas, 76.2 x 61 cm (30 x 24 in). © María Berrío. 
Courtesy the artist and Victoria Miro.
The eight new works here began as a project about a fictional village and its response to tragedy, but shifted as Berrío explored her feelings and emotions regarding the real catastrophe of the current global pandemic.
Royal Academy of Arts Summer Exhibition, London, 6 October 2020 – 3 January 2021.
For the first time ever, the Summer Exhibition falls in autumn and winter, but the RA’s galleries look much as they do every year.
Artemisia Gentileschi. Jael and Sisera, 1620. Oil on canvas, 86 × 125 cm. © Szépmüvészeti Múzeum / Museum of Fine Arts, Budapest (75.11).
Long-known for her autobiography, visceral and violent, yet strongly feminine portrayals of Apocryphal heroines, and her self-portraits in the guises of various martyrs, the Italian Baroque artist Artemisia Gentileschi is finally being celebrated for her full four-decade career as a successful and savvy painter.
Tim Clark.
The British Museum has just bought 103 newly rediscovered drawings by Hokusai. Tim Clark, the museum’s leading expert on the Japanese artist, talks about studying the pictures and their connections during lockdown, making them available online and preparing for a physical exhibition next year.
Fabienne Verdier. Photo courtesy Waddington Custot.
Sound and vision collide in Verdier’s work, with this latest show exploring the physical, emotional and aesthetic landscape of Mozart arias.
Billie Zangewa in her studio. Photo: Andrew Berry. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London.
The Johannesburg-based artist, whose work is currently on show at Lehmann Maupin in New York, talks about her collages of domestic life, which advocate for self-preservation and the demystification of black women.
Anya Paintsi, THIRTY SIX INCH IN SIX THIRTEEN, 2019. Punch needled acrylic, wool, cotton and kanekalon hair on hessian, 68 x 88 cm. Courtesy Ed Cross Fine Art.
Although this year’s fair had to be pared back, it nevertheless showcased a diverse and exciting range of perspectives on modern life and African identity.
Christina Quarles speaking to Studio International via Zoom from her studio in Los Angeles.
Created during lockdown, against a backdrop of rising deaths from Covid, the police killing of George Floyd and raging fires across California, the nine new paintings in this show at Pilar Corrias are haunted by melancholy. Quarles spoke to Studio International via Zoom from her studio in Los Angeles.
Grace Pailthorpe, The Torment of Tantalus, 1938. Private collection. Courtesy Galerie 1900-2000, Paris.
An exhibition of art inspired by the spirit world at Drawing Room London offers up some surprising visions.
Ryan Mosley. My Brother Paul, 2020. Installation view, Everyday Heroes, Southbank Centre, London, 2020. Photo: Martin Kennedy.
An outdoor exhibition of art on London’s Southbank celebrates the heroes of lockdown with an eclectic collection of art and poetry.
Huma Bhabha. Photo: Elyse Benenson, 2016.
The artist explains how working for a taxidermist helped her with sculpture, why she is fond of materials that are basically refuse, and the nerdy humour that she hides in her work.
Stuart Whipps, If Wishes Were Thrushes, Beggars Would Eat Birds, 2020, Dundee Contemporary Arts. Photo: Ruth Clark.
Using installation, photography, film and sound, Whipps takes us on a journey exploring histories from around the world through plants and minerals.
Michael Schmidt, Untitled from, Berlin-Kreuzberg. Stadtbilder 1981-82. Silver gelatin print, 33.6 x 27.8 cm. © Stiftung für Fotografie und Medienkunst mit Archiv Michael Schmidt.
A hometown survey of the Berlin photographer captures a city on the cusp of change, anxious and expectant.
Nancy Holt, Points of View (detail), 1974. Clocktower Gallery, New York. Four-monitor video installation, black-and-white, sound, duration 44 mins. Video unit: 72 x 54 x 54 in (183 x 137 x 137 cm). Photo: Gwenn Thomas. © Holt/Smithson Foundation, Licensed by VAGA at ARS, New York.
Her enduring interest in language and visual perception, combine in this fascinating yet intimate exhibition of Holt’s early work.
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