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Andy Warhol, installation view, Tate Modern 2020. © Tate photography, Andrew Dunkley.
There is a great deal of death in this exhibition but, ultimately, it is an overwhelming lust for life that permeates every room
The impact of Covid-19. Image by Martin Kennedy © Studio International.
In the second part of this five-part essay, comprising conversations with multiple artists around the globe, we look at the impact of self-isolation, either due to sickness or preventatively, and financial implications.
Lygia Clark. Modulated Surface, 1955. Industrial paint on Eucatex, 62 x 86. Collection of Ana Eliza and Paulo Setúbal. © Courtesy of The World of Lygia Clark Culture Association.
Best-known for her sculptural and interactive later works, a survey of the first decade of the Brazilian modernist’s practice reveals her as a multifaceted, quicksilver painter.
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.
Marguerite Humeau. Photo: Florine Bonaventure.
Whether she is reconstructing the voice of Cleopatra or creating futuristic elephantine forms, Humeau is, she says, preoccupied with death.
Ziba Ardalan talked to Studio International about her decision to close Parasol unit foundation for contemporary art, London, 2020. Photo: Martin Kennedy.
Ardalan talks about her decision to close Parasol unit, and its achievements in London over the last 16 years.
Abad’s exuberant mixed-media trapunto works give a carnivalesque feel to the UK’s first solo exhibition of the artist.
Catherine Opie. Bo from Being and Having, 1991. Collection of Gregory R. Miller and Michael Wiener. © Catherine Opie, Courtesy Regen Projects, Los Angeles; Thomas Dane Gallery, London; and Soloman R. Guggenheim Museum, New York.
I had hoped this would be a show full of challenges and questions, but with its images of bodybuilders, soldiers, bullfighters and athletes, it failed to disrupt the archetypes.
Carmen Neely. Photo: Lorraine Turi.
The artist talks about the role of collecting, (re)creating characters and identities, translation, and the seriousness of play in her practice.
The impact of Covid-19. Image by Martin Kennedy © Studio International.
This five-part essay, comprising conversations with multiple artists around the globe, looks at the far-reaching effects of the Covid-19 crisis on their livelihoods and practices, both negative, in terms of financial losses and future worries, but also lessons learned, communities built and new works inspired. Part one looks at the impact of cancelled shows and fairs.
Frederick Evans 1853-1943. Portrait of Aubrey Beardsley, 1893. Photo-etching and platinum print on paper, 11.5 x 16.5 cm. Wilson Centre for Photography.
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.
Oluwole Omofemi talking to Studio International at the opening of The Way We Were at Signature African Art, London, 10 March 2020. Photo: Martin Kennedy.
The Nigerian artist talks about how he uses hair – specifically the afro – as a metaphor for freedom and power, and a symbol of identity.
Johanna Unzueta: Tools for Life, installation view, Modern Art Oxford 2020. Photo: Ben Westoby.
Unzueta’s films, drawings and huge felt installations weave together traditional Chilean needlework skills with an exploration of nature, human labour and manufacturing processes.
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.
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