logo studio international
The Bunker Artspace, West Palm Beach, Florida, installation view. Photo: Jill Spalding.
Given a test run last autumn and reopening on 2 December, The Bunker, a private venue fronting the collection of curator-collector Beth Rudin DeWoody, is a trifecta of firsts; first to give Palm Beach a serious art scene; first to show art as an evolving aesthetic and first of what I anticipate will be the new trend – the show space as self-portrait
Edward Burne-Jones. The Garden Court, 1874-84. Oil on canvas, 125 x 231 cm. The Faringdon Collection Trust.
Burne-Jones may not appeal to the contemporary art world, but Tate Britain’s survey proves there’s more to the pre-Raphaelite master than Arthurian escapism.
Anna Boghiguian talking to Studio International at the opening of Artes Mundi 8, National Museum Cardiff, 25 October 2018. Photo: Martin Kennedy.
Anna Boghiguian talks about her travels and research for A Meteor Fell from the Sky, the founding of India’s first steel business, Tata Steel, and how this material is currently being manipulated by assorted superpowers to influence global economies and politics.
Rainer Fetting, Prophet at the Sea of Galilee, 2007. Oil on canvas, 210 x 160 cm. Photo: Kerstin Müller, Ute Oedekoven.
Revisiting a seminal exhibition from nearly four decades ago, curator Norman Rosenthal presents 15 painters who have stood the test of time and who evidence the continuing relevance of painting as an artistic medium.
Magdalena Abakanowicz. Photo © Magdalena Abakanowicz Studio Archive.
Magdalena Mielnicka, an expert on Abakanowicz, talks about the irrepressible Polish artist’s extraordinary life and her uncanny sculptures, currently on show at Stara Kopalnia Science and Art Centre, Wałbrzych.
Suspension: A History of Abstract Hanging Sculpture, 1918-2018, installation view, Palais d’Iéna. Courtesy of Olivier Malingue Ltd. Photo: Benoît Fougeirol.
From Duchamp’s Travelling Sculpture to a tiny work by Ruth Asawa, Suspension proposes a new category within the story of modern sculpture.
Pierre Le-Tan, Hommage à Christian Bérard c1930-40. Mixed media, including Christian Bérard's identity card, and a contact print by Jacques-Henri Lartigue, 26 x 19.8 x 5.7cm. © Pierre Le-Tan. Image courtesy of Tristan Hoare Gallery.
The French artist and illustrator explains his love of collecting, his collaboration with Patrick Modiano and why he stopped working for magazines.
Franz West, Rrose/Drama, 2001. Aluminium and car-body paint, 210 × 540 × 240 cm. Telenor Art Collection. Photo © DR / All rights reserved .
From his diminutive drawings to his large Pepto-Bismol pink sculptures, Franz West's world will leave you feeling slightly scrambled, but wholly absorbed.
Doris Salcedo, Palimpsest, 2013−17. Installation view, White Cube, Bermondsey, 2018. © the artist. Photo © White Cube.
The White Cube presents two of Doris Salcedo’s works, each exploring loss and the fragility of life with the artist’s signature flair.
Martin Eder portrait, Parasites, Newport Street Gallery, Prudence Cummings Associates.
In this solo exhibition, Eder explores cultural value judgments through his kitsch portrayals of kittens, puppies and female nudes, in paintings spanning the past 15 years of his career.
Future Knowledge, installation view, Modern Art Oxford, 2018. Photo: Ben Westoby.
This thought-provoking exhibition explores how artists can raise awareness about climate change and the environment.
Artes Mundi 8, National Museum Cardiff, 2018. Photo: Polly Thomas.
The artists shortlisted for Artes Mundi 8 aim to stir our consciences on everything from abuse of the Earth’s resources to the creep of surveillance and the steel industry’s impact. We talk to two of them, Anna Boghiguian and Otobong Nkanga, about their work.
Otobong Nkanga talking to Studio International at the opening of Artes Mundi 8, National Museum Cardiff, 25 October 2018. Photo: Martin Kennedy.
Otobong Nkanga talks about her inspirations for the works on show at Artes Mundi 8, and her enduring preoccupations with the reciprocity or interconnectedness of emotion and action around the world.
Anonymous. Airship Count Zeppelin landing at the Aspern Airfield near Vienna, 1931. Black-and-white photograph, 23 x 17 cm. © Austrian Archives / Imagno / picturedesk.com.
Vienna’s museum of modern art presents a photographic journey through the past 100 years of Austrian history that reveals how images can change the way we remember events and eras.
Henrike Naumann. Photo: Inga Selch.
Naumann’s careful recreations of 1990s living spaces explore how sudden social and economic change led to the rise of the far right in Germany and Austria.
Tamara de Lempicka, Les deux amies, 1923. Installation view, Modern Couples: Art, Intimacy and the Avant-garde, Barbican Art Gallery, 10 October 2018 – 27 January 2019. © John Phillips / Getty Images.
Modern Couples attempts to retell the story of the modernist avant-garde through creative relationships. But is its intellectual impact marred by its massive scale?.
Phoebe Unwin. Almost Transparent Pink, 2018. Oil on canvas, 51 x 41 cm. © the artist. Courtesy Amanda Wilkinson Gallery, London.
Unwin describes the role of memory in the 10 oil paintings of this solo show and explains why she resists being aligned with any specific group or movement.
Billy Apple speaking to Studio International at The Mayor Gallery, London 2018. Photo: Martin Kennedy.
Billy Apple is not just an artist – he’s a trademarked brand. He talks about exchanging his art for a knee operation and his new exhibition at the Mayor Gallery, London.
Stephen Farthing. Photo: Dan Stevens.
Farthing explains how his Miracle paintings, now on show at Salisbury Cathedral, came from a conversation he had with a Coptic priest in Cairo.
Berlinde De Bruyckere, Stages & Tales, installation view, Hauser & Wirth Somerset, 2018. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt.
In two powerful sets of new work at Hauser & Wirth’s Somerset outpost, the Belgian sculptor moves beyond her figurative past in an attempt to capture the tragedy of the present day.
Jusepe de Ribera, Apollo and Marsyas, 1637. Oil on canvas, 182 x 232 cm. Museo e Real Bosco di Capodimonte, Naples. Photo: Museo e Real Bosco di Capodimonte on kind concession from the Ministero dei beni e delle attività culturali e del turismo.
This exhibition, the first in the UK dedicated to the work of Jusepe de Ribera, delves in to the motivations behind some of the baroque artist’s most arresting images of suffering.
studio international logo
Copyright © 1893–2018 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