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Gauguin Portraits

The National Gallery’s autumn blockbuster posits the troublesome post-impressionist firebrand as a revolutionary painter of portraits, concerned with himself even as he painted others

Paul Gauguin, Barbarian Tales, 1902 (detail). Museum Folkwang Essen (Inv. G 54) © Museum Folkwang Essen / ARTOTHEK.
Haroon Mirza, Jack Jelfs, Gaika, Draf Evening of Performances, Ministry of Sound, London, 3 October 2019. Photo: William Kennedy.
Haroon Mirza, Jack Jelfs, Gaika and Hannah Perry were among nine international artists performing to a packed house at the London nightclub Ministry of Sound during the city’s Frieze Week. The evening’s event was curated by Louise O’Kelly, founding director of Block Universe.
Enoc Perez in the studio, 2019. Photo: Frederick Egan Castleberry. Courtesy of the artist & Ben Brown Fine Arts.
The New York-based painter discusses his new show, The Cinematic Self, at Ben Brown Fine Arts, his painterly process, the interiors that excite him, and his approach to turning 50.
Phyllis by Holly Hendry for Selfridges’ Art Block, London, 2018.
Just three years after leaving art school, Hendry has already had several high-profile shows. She talks about her love of problem-solving and manipulating materials and discusses her new exhibition at Yorkshire Sculpture Park.
E-Werk Luckenwalde, aerial view 2019.
It’s all about power – electricity and power relations – and this dynamic opening night for E-Werk Luckenwalde, curated by Block Universe, combined all varying aspects in an electrifying manner.
Mikhail Karikis. Photo: Stefan Schweizer.
Karikis has filmed children, teenagers, elderly female pearl divers and others on the margins on society. He talks about his aims and his latest project, at De La Warr Pavilion in Bexhill, which focuses on carers.
Antony Gormley, Matrix III, 2019. Approximately six tonnes of 6 mm mild steel reinforcing mesh, 7.1 x 9.3 x 15.15 m. Installation view, Antony Gormley, Royal Academy of Arts, London, 21 September – 3 December 2019 © the Artist. Photo: David Parry / © Royal Academy of Arts.
There is metal everywhere in this engaging exhibition, which contrasts the gigantic with the minuscule, but it is the drawings that steal the show.
Julie Cockburn, 2017 © Photo: Antonio Parente, Courtesy of Flowers Gallery.
At the opening of her latest show, Telling it Slant at Flowers Gallery, Cockburn talks about happy accidents, the labour that goes into her work and the simple joy of circles.
Alexander Tovborg. Photo: Oliver Bak.
The Danish artist mixes his paint with holy water. Here, he talks religion, irony and bringing mystery back into art.
Dóra Maurer. Seven Twists V 1979, printed 2011. Gelatin silver print on paper, 20.5 × 20.5 cm. Tate © Dóra Maurer.
This is a fascinating insight into the joyous experimental work of this Hungarian-born artist, who started out by subverting the cultural policy of her country’s socialist regime  .
Roger Palmer. Photo: Ellen Elmendorp.
Following an exhibition based on Robinson Crusoe and a new book of photographs of South Africa’s disused railway lines, Palmer’s latest projects are on Irish independence and Russia’s Kronstadt Mutiny. He explains how he chooses his subjects.
Stephen Dean, Vortex, 2008, installation view, Frac Corsica, 2019.
Half-a-dozen works by Dean and two by Deleporte make up this stunning double exhibition by the New York-based pair.
Barry Flanagan, installation view, Ikon, 2019. Courtesy The Estate of Barry Flanagan and Ikon.
The hare dominated his practice to such an extent that it is often all he is remembered for, but this comprehensive exhibition reveals the true breadth of Flanagan’s oeuvre.
Lucy Joyce at E-Werk Luckenwalde 2019. Photo: Anna McNay.
With her six-month inaugural exhibition and a live Aktion ahead of the official opening, Joyce hopes to surprise visitors and make them think – as well as to leave behind something of her collaborative research to guard the new Brandenburgian arts centre.
Doug Aitken. All doors open, 2019. Acrylic, LED, wood 94.6 x 304.8 x 213.4 cm (37 1/4 x 120 x 84 in). © Doug Aitken. Courtesy 303 Gallery, New York; Galerie Eva Presenhuber, Zürich; Victoria Miro, London/Venice; and Regen Projects, Los Angeles.
A humming, interconnected series of unsettling yet eerily beautiful works explores our place in a world governed by technology, but it’s not clear whether Aitken considers us the beneficiaries of this technology or slaves to its constant presence.
Helene Schjerfbeck. Self-portrait, Black Background, 1915. Oil on canvas, 45.5 x 36 cm. Herman and Elisabeth Hallonblad Collection. Finnish National Gallery / Ateneum Art Museum. Photo: Yehia Eweis.
A striking study of the process of ageing and mortality, the central room of this three-gallery exhibition offers a stand-alone journey through this Finnish artist’s life and concerns.
Silvia Ziranek reading a selection of her writing at Art Car Boot, Cabaret Futura programme, London, 2015. Photo: Chrissy Robinson.
The artist discusses her approach to objects and performance, to writing and performing, and to language, the absurdity in life – and the colour pink.
Mona Hatoum, Remains to be Seen, White Cube Bermondsey 12 September - 3 November 2019. © Mona Hatoum. Photo © White Cube (Ollie Hammick).
This engaging exhibition, horrifying and humorous by turn, includes installation, sculptures and works on paper by Hatoum that reflect on our troubled times.
Esther Pearl Watson. Due to Transportation, 2019. Acrylic, collage and glitter on canvas, 91.4 x 91.4 cm. © Esther Pearl Watson, courtesy Maureen Paley, London.
The Los Angeles-based painter presents an offbeat world that reflects on a distinctly American kind of idealism.
The Picture of Health, Jo Spence in collaboration with Rosy Martin, Maggie Murray and Terry Dennet, 1982. Copyright The Jo Spence Memorial Archive, Ryerson University, Courtesy MACBA Collection.
This bold exhibition brings together two challenging female artists insistent on exploring identity and the medicalised body.
Rachel  Howard. Photo: Carla Borel.
The artist talks about her interest in madness and the edge of things and the five large-scale paintings in her show l’Appel du Vide, which opens this month at Blain Southern in New York.
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