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In the third part of this five-part essay, comprising conversations with artists around the globe, we look at the impact the pandemic – and imposed isolation – is having on them in terms of community and inner resilience
Andy Warhol. Debbie Harry, 1980. Private collection of Phyllis and Jerome Lyle Rappaport 1961. © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.
There is a great deal of death in this exhibition but, ultimately, it is an overwhelming lust for life that permeates every room.
Shailesh BR. Page Turner (Ulta Pulta), 2020. Kinetic sculpture with book and machine, 101 x 46 x 33 cm. Production Villa Arson, Nice 2020. Photo: François Fernandez / Villa Arson.
Three new solo exhibitions resulting from artists’ residencies at Villa Arson explore architecture, place, ritual and introspection.
From a drawing in illustration of Mr. Oscar Wilde's ‘Salome’ by Aubrey Beardsley (detail). In A New Illustrator: Aubrey Beardsley, The Studio, An Illustrated Magazine of Fine and Applied Art, Vol 1, No 1, April 1893, page 19. © Studio International Foundation.
This article was first published in The Studio, Vol 1, No 1, April 1893, pages 14–19.
Marilyn Minter. Orange Crush, 2009. Enamel on metal, 108 × 180 in (274.3 × 457.2 cm). Courtesy of the artist and Salon 94, New York. © Marilyn Minter.
Featuring artists including Marilyn Minter, Derrick Adams and Wong Ping, the Savannah College of Art and Design’s 11th iteration reflected its international outreach.
Tomás Saraceno, Aria installation at Palazzo Strozzi, Firenze. Photo ® Ela Bialkowska, OKNO Studio 2020.
Saraceno’s utopian visions for a future without fossil fuel or boundaries – and his admiration for spider technology - make for a compelling show.
Julijonas Urbonas, A Planet of People, 2020. Installation view, Collective, Edinburgh. Photo: Tom Nolan.
In this fascination fusion of art and science, the Lithuanian artist imagines sending visitors into outer space to create a new artificial planet made solely by human bodies.
David Hockney. Mother, Bradford. 19 Feb 1979. Sepia ink on paper, 14 x 11 in. © David Hockney. Photo: Richard Schmidt, Collection The David Hockney Foundation.
In the first major exhibition of David Hockney’s drawings for 20 years, a focus on just a handful of sitters amplifies the importance of drawing in a career that has sustained Hockney for more than half a century.
Alaska Native artist. Engraved Whale Tooth, late 19th century. Sperm whale tooth, black ash or graphite, oil, 6 1/2 × 3 × 2 in (16.5 × 7.6 × 5.1 cm). Brooklyn Museum; Gift of Robert B. Woodward, 20.895. Creative Commons-BY. Photo: Brooklyn Museum.
This exhibition documents the hardships faced by Indigenous people from across the Americas as a result of climate and environmental changes – and should be a salutary tale to us all.
Grayson Perry. Claire as a soldier, 1987. Private collection. © Grayson Perry, courtesy the artist and Victoria Miro.
If you can move beyond the small size of the venue and the incongruity of hermetically sealed display vitrines, this show provides a chance to view Perry’s raw, angry and provocative early works.
Hedda Sterne, installation view, Victoria Miro Mayfair, London, 29 January – 21 March 2020. © The Hedda Sterne Foundation Inc, ARS, NY and DACS, London 2019. Courtesy Van Doren Waxter and Victoria Miro.
Long-known as ‘the only female at the birth of abstract expressionism’, Romanian-born Sterne always denied being an abstract painter, and this gem of an exhibition makes it clear why.
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.
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