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Otto Mueller. Self Portrait with Pentagram, around 1924 (detail). Von der Heydt-Museum Wuppertal. © Von der Heydt-Museum Wuppertal. Photo: Antje Zeis-Loi, Medienzentrum Wuppertal.
Exploring the life, work and artistic times of the German expressionist artist Otto Mueller, this exhibition revives the lively cultural exchange of the early 20th-century between Berlin and Wrocław
Yapci Ramos. Red-Hot, 2015-18. 18 channel video HD Installation with sound, 12 min 05’’ sec. Video still.
Eight key works from the past 15 years, all unapologetically seen from a woman’s perspective, circle around the fluidity of sexuality, identity and the diversity of human behaviour.
Jules Cheret. La Loie Fuller, 1893. Printer: Chaix (Ateilier Cheret), Paris. Lithograph in red, yellow, dark violet, and black ink on paper, 124 x 84 cm. Collection: The Hunterian, University of Glasgow.
In these prints of Paris, Toulouse-Lautrec and his contemporaries bear witness to the enduring appeal of illusion, suggestion and nostalgia.
Shen Fan: Works in Abstraction 1992-2017, installation view, Eli Klein, New York, 2018. Photo courtesy of Shen Fan, ShanghART Gallery and Eli Klein Gallery.
This exhibition presents a survey of works by the Shanghai-based artist whose aim is to open up a dialogue across cultures and chronologies.
Susan Swartz. Spring Muse 8, 2016. Acrylic on linen, 48 x 72 in. Courtesy of Susan Swartz Studios.
Nature, says Swartz, is her primary source of inspiration and her paintings are grounded in the increasingly complex relationship we have with it.
Carer (Backbone of Society) by Roseline Ma. Photo: Juliet Rix.
With its packed walls, vibrant colour and impressive work, the Royal Academy’s first show by artists from its community partner programmes is like a miniature Summer Exhibition.
Gabriele Münter, around 1935. © Gabriele Münter und Johannes Eichner-Stiftung, Munich. Photographer unknown.
Best-known for her colourful, expressionist landscapes and her graphic portraits, as well as for her relationship with Wassily Kandinsky, Münter deserves to be remembered in her own right, as this expansive exhibition makes clear.
Janet Biggs, Space Between Fragility Curves, 2018 (detail). Two-channel, HD video installation with sound. Courtesy of the artist, Cristin Tierney Gallery, New York, NY, Analix Forever, Geneva, Switzerland, and CONNERSMITH, Washington, DC.
In her three new films, Biggs mixes footage of the Mars Desert Research Station in Utah with scenes from refugee camps and adds in terrific soundtracks. The result is utterly compelling.
Gustavo Pérez Monzón. Portrait of the artist. Photo: Gabriel Batiz. © The Artist; Courtesy Richard Saltoun Gallery, London.
The Cuban artist discusses his return to production, a fascination with the systems of arcane sciences and why teaching and practice are born of the same spirit of enquiry.
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.
(Henry) Mark Anthony (1817–86). Sunset (also known as Rock of Cashel), c1847. Oil on canvas, 45 x 45 in (114 x 114 cm).
This exhibition of artwork from Ireland’s Great Hunger Museum at Quinnipiac University, Connecticut, looks at how the country’s great famine in the mid-19th century still resonates today.
Ceal Floyer. Hammer and Nail, 2018. Video projection with audio, 
dimensions variable. © Ceal Floyer. Courtesy Lisson Gallery.
Ceal Floyer’s subversion of everyday objects continues her meditation on materiality in private and public space.
Installation view, showing Kohei Suiguira’s book designs, from Fluorescent Chrysanthemum Remembered, CCA Laznia, Gdansk, Poland. Photo: Paweł Jozwiak.
A retrospective exhibition, curated by Jasia Reichardt,  celebrates the 1968 ICA show that first brought the Japanese avant garde to Europe.
Oli Kellett. Cross Road Blues (6th St, LA), 2016. Archival pigment print, 81.3 x 101.6 cm (32 x 40 in). © Oli Kellett / Courtesy HackelBury Fine Art.
British photographer Oli Kellett travels to the US to shoot people at road junctions. Here, he explains what led him to the subject matter that now forms his first solo show.
Jackson Pollock. Summertime: Number 9A, 1948 (detail). Oil paint, enamel paint and commercial paint on canvas © Tate, London 2018.
With glimmers of a cloak-and-danger cold war thriller, this look at the US artist’s 1958 UK debut considers the gallery design, remarkable for its time, and the murky matter of Pollock’s secret CIA support.
Lorenzo Lotto. Portrait of Andrea Odoni, 1527. Oil on canvas, 104.3 × 116.8 cm. Lent by Her Majesty The Queen Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018.
Lorenzo Lotto was a painter of emotions as well as likenesses. With every portrait, he reached beyond convention to get to the heart of his sitters.
Art Basel Miami Beach 2018, Al Held, B/W XIV, 1968 (left), Lynda Benglis, NAR, 1980 (centre), Sean Scully, Stack Greys, 2018 (right). Installation view, Art Basel Miami Beach 2018. Photo: Jill Spalding.
Trend-spotting is over, but lacking, too, was the buzz. In the end, what ABMB brought to fair-goers was less an agglomeration of work for sale than an indelible, fully sensory experience of art.
Brent Wadden: Sympathetic Resonance, installation view at Pace Gallery, London, 22 November 2018 to 10 January 2019. Copyright Brent Wadden, courtesy Pace Gallery.
The artist talks about Sympathetic Resonance, his new show at Pace, why he refers to his weaving as painting, and trawling websites daily in search of secondhand yarn.
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.
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