logo studio international
Nam June Paik. Fin de Siècle II, 1989 (partially restored, 2018). Whitney Museum of American Art, New York; gift of Laila and Thurston Twigg-Smith. © Nam June Paik Estate. Photograph: Ron Amstutz.
From Nam June Paik’s 1960s experiments to alter images on a TV screen to Ian Cheng’s use of chatbots and Jonah Brucker-Cohen and Katherine Moriwaki’s comments on celebrity-making through software that tracks Twitter feeds for reality TV shows, this exhibition spans 50 years of programmed works
Helmut Kolle. Young Man with a Coloured Scarf, c1930. © Kunstsammlungen Chemnitz - Museum Gunzenhauser, Stiftung Gunzehauser.
In 1938, a year after the notorious Nazi exhibition of “degenerate art” in Munich, a counter exhibition in London showed works by 65 of the defamed artists. Eighty years on, this retrospective looks back at that exhibition, its organisers, the artworks and the artists themselves, and the stories of the lenders.
Fernand Léger. ABC, 1927. Gouache on paper, 19.4 x 27.8 cm. Tate: Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994. © ADAGP, Paris and DACS, London 2018.
Léger is regarded as the father of pop art and, despite his harrowing experiences during the first world war, the works here reflect a sense of optimism.
Emma Hart, Mamma Mia!, 2017. Installation view, The Fruitmarket Gallery, 2018. Collezione Maramotti, Reggio Emilia, Italy. Photo: Ruth Clark.
In a playful, rebellious show that explores the sinister and surreal of the everyday, the London-based artist Emma Hart turns to clay and chaos in her first Scottish exhibition.
Maggi Hambling. Sebastian Horsley VIII, 2011. Oil on canvas. © Maggi Hambling.
This exhibition brings together the works of a formidable group of artists whose friendship has inspired some compelling portraits.
OMA’s Norre Tornen, Stockholm. Photo © Laurian Ghinitoiu Oscar Oma.
With two new luxury blocks of flats, OMA and Bjarke Ingels Group have added their architectural signatures to the Stockholm skyline. But are these apartments for the affluent really what Stockholm needs?.
Funda Gül Özcan. Photo: Stephanie Rumberger.
Özcan talks about her recent installation at a bar in Graz, extraterrestrials, the Kosovo war, artworks that function like pop songs and why men confide in her.
Lotte Laserstein. Russian Girl with Compact, 1928. Oil on panel, 31.7 x 40 cm. Städel Museum, Frankfurt am Main. Photo: Städel Museum – Artothek. © VG Bild-Kunst, Bonn 2018.
Lotte Laserstein was a rising star of Weimar Berlin, forced to leave her country and abandon her artistic aspirations, but with this exhibition of highlights from her peak, there is hope that her name may yet not be forgotten.
Andy Warhol. 129 Die in Jet! 1962. Acrylic and pencil on canvas, 100 x 72 in (254 x 182.9 cm). Installation view, photo: Jill Spalding.
The Whitney’s pantheon exhibition, of close to 300 works, sidelines Andy, the pop artist marketed on posters and mugs, to reveal Warhol, the visionary become meme with a signature vocabulary that still colours the culture.
Andreas Lolis. Untitled, 2018. © PanosKokkinias, Courtesy NEON.
Lolis talks about why he uses marble to sculpt bin bags, wooden crates and other mundane items, in reference to homelessness, the refugee crisis and Greece’s changing society.
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.
Zoe Leonard. Untitled Aerial, 1988/2008. Gelatin silver print, 86.3 x 60.5 cm (34 x 23 7/8 in). © Zoe Leonard. Courtesy the artist, Galerie Gisela Capitain, Cologne and Hauser & Wirth.
Leonard’s stripped-back black-and-white aerial photographs take us back to a simpler time.
Mariko Mori performing Oneness in the Moongate Garden of the Sackler Gallery, Washington DC, 16 November 2018.
The Moongate Garden at the Sackler Gallery provided a magical backdrop for Mariko Mori’s performance of Oneness for the gallery’s annual fundraiser.
Gordon Matta-Clark creating Garbage Wall under the Brooklyn Bridge in 1970. © The Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York. Courtesy The Estate of Gordon Matta-Clark and David Zwirner.
Using films, photo collages and reconstructions, this show brings back to life the pioneering work of the artist-architect who turned art into a social project in 1970s New York.
Christo in his studio with a preparatory drawing for The Mastaba, 2012. Photo: Wolfgang Volz. © 2012 Christo.
Famed for wrapping massive structures, great bodies of water and chunks of coastline as well as monumental  sculptures built from oil drums, Christo, who collaborated with his wife Jeanne-Claude until her death in 2009 – and still talks about her in the present tense – discusses his extraordinary career.
Thomas Gainsborough. Mary and Margaret Gainsborough, the Artist’s Daughters, c1760–61.
 Oil on canvas, 40.6 x 58.4 cm. Victoria and Albert Museum, London.
The National Portrait Gallery introduces us to Thomas Gainsborough’s colourful family in a beautifully realised exhibition.
Miguel Branco. Untitled (Unicorn). Polymer clay, wood and metal wires. Collection Victor Pinto da Fonseca. Courtesy Jeanne Bucher Jaeger, Paris. © Miguel Branco, Fred NS.
Throughout history, unicorns have borne the power of intrigue and attraction, and this brief chronology, centring on the Musée de Cluny’s six medieval tapestries, The Lady and the Unicorn, showcases some of the highlights of artistic response.
Otto and Paula Modersohn sitting in the garden on the bench, c1904. Photo: © Paula Modersohn-Becker Foundation.
A tender testament to the relationship of two artists, whose lives and work are inextricably linked, bringing to life the moor landscapes of northern Germany.
JW Anderson Autumn Winter 2018 campaign. Photograph courtesy of Julie Greve.
The recent art-school graduate, who was selected to photograph this season's campaign for standout British fashion label JW Anderson, discusses her approach to commercial projects and the importance of forming a rapport with her subjects.
John Waters, Playdate, 2006 (foreground). Silicone sculpture of Michael Jackson and Charles Manson. Installation view, The Bunker Artspace, West Palm Beach, Florida. 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.
Santiago Sierra. South Pole Documentation, 2015. Ditone archival print on Hahnemuhle Photo Rag. Courtesy of Santiago Sierra Studio & a/political.
This immersive installation documents Sierra’s provocative planting of black flags – symbol of the anarchist movement – at the north and south poles, opening the way for a timely discussion on borders and freedom of movement.
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