logo studio international

Orson Welles: the graphic artist

A film and a book on Welles’s artwork provide another lens through which to observe one of cinema’s most fascinating protagonists

Orson Welles on the set of Citizen Kane, 1941. Photo: RKO Radio Pictures/Photofest.
Olivia Erlanger, installation at And Now, Frieze New York 2019.  Photograph courtesy Frieze.
This year’s fair demonstrated a more open-ended approach than usual, exhibiting and promoting diverse art-making practices. By devoting attention to new trends, as well as to forgotten and little-known artists, the organisers created a well-balanced and engaging display.
Victor Wong and A.I. Gemini. Image courtesy of 3812 London Gallery.
Artist-inventor Victor Wong talks about his robot artist AI Gemini, how he feels about his invention and how it might develop in the future.
Jack Whitten. Apps for Obama, 2011. Acrylic on hollow core door, 213.4 x 231.1 cm. Private collection, courtesy Zeno X Gallery. © Jack Whitten, courtesy Zeno X Gallery, Antwerp. Photo: John Berens.
Embellished with sparkling gemstones and richly coloured tiles, Whitten’s memorial paintings on show here are not only extraordinarily beautiful, but communicate so much about the artists and musicians to whom they are dedicated.
Portrait of Angelica Mesiti in her exhibition ASSEMBLY, 2019. Commissioned by the Australia Council for the Arts on the occasion of the 58th International Art
Exhibition – La Biennale di Venezia, courtesy of the artist and Anna Schwartz Gallery, Australia and Galerie Allen, Paris. Photography: Zan Wimberley.
Representing the Australian Pavilion at this year’s Venice Biennale, Angelica Mesiti is showing a multiscreen video installation entitled Assembly, which uses music to explore the power and complexities of collectivity.
Antonello da Messina, Portrait of a Young Man, 1478. Oil on walnut, 20.4 x 14.5 cm. Staatliche Museum, Gemäldegalerie, Berlin. © 2018. Photo: Scala, Firenze/bpk. Bildagentur fuer Kunst, Kultur und Geschichte, Berlin.
A must-see exhibition at Milan’s Palazzo Reale unites two-thirds of the surviving paintings by Sicily’s greatest Renaissance painter.
Jonathan Monk, Exhibit Model Four – plus invited guests. Installation view, Maschinenhaus M1, KINDL – Centre for Contemporary Art. Photo: Jens Ziehe.
This exhibition comprises a wallpaper of Monk’s photographs from the past 20 years, along with artworks from a sprawling list of his ‘invited guests’.
Sean Scully. Robe Magdalena, 2017. Oil on aluminium, 215.9 × 190.5 cm. Private collection. © Sean Scully. Photo: courtesy the artist.
In this exhibition of more than 30 of Scully’s paintings, prints and pastels, JMW Turner’s The Evening Star provides the jumping-off point for the artist’s works.
Balkrishna Doshi: Architecture for the People, 2019. Installation view. © Vitra Design Museum. Photo: Norbert Miguletz.
This comprehensive exhibition guides us through the creative world of this Pritzker Prize-winning architect, whose vision and inventiveness have empowered the people who use his buildings.
Laura Buckley.
Buckley talks about her sculpture and video Fata Morgana, currently on show at the Saatchi Gallery, using her work as a catharsis for difficult times – and the pros and cons of the Instagram moment.
Emma Kunz at her working table, Waldstatt, 1958. Photo copyright Emma Kunz Centrum.
Kunz was a spiritual healer who saw her drawings – all done with crayons and pencil on graph paper and some aided by divination with a pendulum – as part of her research-led practice.
Michael Takeo Magruder with Drew Baker (3D visualisation & programming), Imaginary Cities — NYC (11062471656), 2019. Real-time virtual environment (Unity3D) with soundscape (Flash), infinite duration. Photo: David Steele © Michael Takeo Magruder.
The digital artist Michael Takeo Magruder transforms urban maps from the British Library into data-driven artworks.
Nye Thompson: CKRBT, installation view, Watermans Art Centre, London, 2019. Photo: Geoff Titley.
In her project The Seeker, a system of machines looking at images on screen, analysing them and whispering to one other, we humans are merely peripheral intrusions, says Thompson. It’s scary, but exciting.
Robert Mapplethorpe. Self Portrait, 1988. Photograph, gelatine silver print on paper, 57.7 x 48.1 cm. ARTIST ROOMS National Galleries of Scotland and Tate. Acquired jointly through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © Robert Mapplethorpe Foundation.
In their intimate and groundbreaking portraits, Woodman, Arbus and Mapplethorpe dared to show the diversity of identity and their struggle to exist on their own terms.
Dale Chihuly. Neodymium Reeds and Turquoise Marlins, blown glass, (date not specified). Royal Botanic Gardens, Kew, London 2019. Photo: Anna McNay.
As an artist who seeks to create works that appear as if they came from nature, placing interventions throughout such a beautiful botanic garden, Dale Chihuly succeeds in mirroring and augmenting its pre-existing splendour.
Aliza Nisenbaum, London Underground: Brixton Station and Victoria Line Staff, 2019. Commissioned by Art on the Underground. Photo: Angus Mill.
The Mexican-born, New York-based artist talks about her first UK public commission, a mural at Brixton underground station, which offers an intimate portrayal of Transport for London staff as part of the Art on the Underground series.
Irina Nakhova, Kiss, 2017. Diptych. Oil on canvas. Collection of the artist. Photo: Natasha Kurchanova © 2019 Irina Nakhova.
The Russian artist talks about her latest exhibition, Museum on the Edge, at the Zimmerli Art Museum, Rutgers University, and explains why she sees art not as a profession, but rather as her way of being.
Tadao Ando – Emaki Drawings, installation view, Château La Coste, Provence, France.
At this French sculpture park, whose landscape is dotted with his structures, the Japanese architect has designed, in his inimitable style, a new pavilion to exhibit drawings of 10 or so of his schemes.
Wong Ping, installation view, Golden Shower, Kunsthalle Basel, 2019. Photo: Philipp Hänger / Kunsthalle Basel. Courtesy of the artist and Edouard Malingue Gallery, Hong Kong / Shanghai.
At Kunsthalle Basel, Hong Kong-born animator Wong Ping creates a seductive physical world for his grotesque and sexually charged animations with installation and sculptures.
Henry Moore, Reclining Male Nude, c1922. Drawing. Reproduced by permission of The Henry Moore Foundation. © The Henry Moore Foundation. Photo: Michel Muller.
Although Henry Moore is best known as a sculptor, drawing was critical to his artistic practice. This exhibition is the largest of Moore’s drawings in more than 40 years.
The Shed, New York, by Diller Scofidio + Renfro, lead architect and Rockwell Group, collaborating architect. Photo: Miguel Benavides.
Pioneering and Olympian, a $475m arts centre anchoring the south end of a shiny new enclave on Manhattan’s Lower West Side hopes to reach a broader community with immersive, intuitive and groundbreaking programming. Can emerging art thrive in such weighted space?.
studio international logo
Copyright © 1893–2019 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