Archive
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Robert Irwin: All the Rules Will Change
This exhibition looks at work the artist produced from 1958 to 1970, a time when he reconsidered the premise of art and art-making
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Elizabeth Price: ‘I’m interested in music and the voice because it brings a very different sensual and emotional register to the work’
Studio International visited Elizabeth Price in her studio in south-east London to talk to her about her work A Restoration, made for the Ashmolean Museum in Oxford
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Stephen Prina: ‘The exhibition was really about considering whether I could embark on an autobiographical project that I would deem acceptable’
The post-conceptual artist talks about his hometown, studying with John Baldessari at California Institute of the Arts, and a missed encounter with John Cage
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Ettore Spalletti: Every dawn, is first / Ogni alba, è la prima
His voice is singular, his pieces united in simplicity: painted columnar forms that point to classical structures, and monochromatic paintings that favour traditional Italian painting
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David Claerbout: ‘I sculpt in duration’
The artist talks about duration, place and history in his practice, and how he sees his way of working as archaeological research rather than a production process
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Ryan Sullivan: ~ / –
For his second exhibition at Sadie Coles, the young American artist eschews canvas and paper, drawing attention instead to the material properties of paint, and producing a dazzling feast of vibrant colour and captured movement
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Georg Baselitz: Wir fahren aus (We’re off)
This major exhibition, the artists first major solo show at White Cube, includes new large-scale paintings, sculpture and works on paper
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Martine Syms: ‘I am interested in the idea of the gulf between your lived experience and its representation’
The Los Angeles-based artist talks about semiotics, funkadelic Afrofuturism, and how to create a 90-minute feature-length film out of 180 30-second clips
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Frieze New York 2016
There were dogs, a screaming blow-up baby and a real donkey, but there were also museum-quality installations and small joys to be had at the New York art fair’s fifth incarnation
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William Heath Robinson’s Life of Line
With a wit all of his own Heath Robinson captured everything from the sublime to the ridiculous, and in doing so became one of the most versatile illustrators of the 20th century
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Gillian Wearing: ‘I don’t have any typical practice. Every project is different’
The artist talks about the ideas behind her latest film project, A Room With Your Views, which brings together footage from around the world and will be premiered at Brighton Festival
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Sara Greenberger Rafferty: ‘What is more essential than how one faces the day?’
The multimedia artist talks about constructing the self through the language of clothing
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From the Collection: 1960-1969
From a shiny Jaguar E-Type, explosions of colour and a trip through a more muted palette, MoMA has served up the 60s as a tasty new dish, charting the era’s subversive investigations into traditional form, media and design
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Charles Richardson – interview: ‘There must be some sort of desire in me to hold onto something’
The artist talks about his show at Exeter Phoenix, collaborating with local artists, the importance of music in his work, and whether the physical informs the virtual, or the other way around
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Jules de Balincourt: ‘I can’t be painting bouquets of flowers and pretend that everything is wonderful. That doesn’t interest me’
The painter’s uncanny worlds reflect the post-9/11 zeitgeist with a beguiling charm. The world is a fragile, unsettling place, he says, and it’s difficult not to respond to that
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Michael Benson: ‘Science is about trying to increase that zone of what we know. Art has a much freer hand. It can leap far ahead of science’
Benson fuses art and science to conjure spectacular images from raw data collected by Nasa and ESA. Here he talks about science fiction, climate change and his exhibition at London’s Natural History Museum
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Bosco Sodi: ‘I like the freedom of letting the mind and soul go on a journey with the work’
Bosco Sodi talks about the two processes in his work: the one where he is in control and the one where he lets go and waits for the surprise of the outcome
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Asya Dodina and Slava Polishchuk: ‘Material dictates the way you relate to the fact you describe’
The Russian immigrant artists talk about the difference between art education in the former Soviet Union and in the United States and the importance of using materials as expressive means in their work
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Steven Claydon: interview, Art Sheffield 2016
Steven Claydon’s newly commissioned Infra-idol Assembly is set within the vast, bunker-like, top-floor space of the Moore Street substation, designed by Jefferson Sheard and constructed in the 60s, when it was thought that Sheffield’s industrial star was still on the…
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Beatrice Gibson: interview, Art Sheffield 2016
London-based artist Beatrice Gibson’s film F for Fibonacci, at Bloc Projects, evokes the chaos of contemporary capitalist economics via a child’s Minecraft fantasy, contrasting the simplicity of the child’s-eye view with the grotesque and sometimes surreal aspirations and machinations of…
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Mark Fell: interview, Art Sheffield 2016
Mark Fell’s Structural Solutions to the Question of Being is being exhibited at The Link pub on the Park Hill housing estate. Fell, who describes himself as a “Rotherham-based music producer and artist”, brings a wealth of local knowledge to…
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Martin Clark: interview, Art Sheffield 2016
Martin Clark, the director of Bergen Kunsthall, Norway, has created Art Sheffield 2016: Up, Down, Top, Bottom, Strange and Charm, entirely around sound and video art.
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Art Sheffield 2016: Up, Down, Top, Bottom, Strange and Charm
For this citywide event, curator Martin Clark aims to inspire a connection between different parts of Sheffield in an event that revolves entirely around sound and video art. Studio International spoke to him and some of the artists involved
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François Morellet: ‘Art is frivolous even when it takes itself seriously’
Two exhibitions by François Morellet, at London’s Mayor Gallery and Annely Juda Fine Art, mark the 90th birthday of one of the leading figures of postwar European art, who once described himself as the ‘monstrous son of Mondrian and Picabia’
