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Eva Rothschild talking to Studio International at the opening of The Shrinking Universe, 
Irish Pavilion, Arsenale, Venice Biennale 2019. Photo: Martin Kennedy.
Eva Rothschild’s installation in Venice’s Arsenale summons the spirit of infrastructure, rubble and monuments of disposable (yet not disposable) material. She hopes it will encourage a more direct interaction and encounter with the work
Jock McFadyen at The Royal Academy of Arts Summer Exhibition 2019 hang. Photo: Juliet Rix.
McFadyen, known for his urban landscapes and putting the marginal centre stage in his paintings, is the co-ordinator of this year’s Royal Academy Summer Exhibition. It’s been challenging and exciting, he says, but he’s finding the baggage of its reputation more than a little trying.
Works by Ragen Moss, installation view, Whitney Biennial 2019. Photo: Jill Spalding.
Edition 2019 looks great, goes wide and speaks loudly, but is it off mission? Lost in this bi-coastal perceived zeitgeist of identity politics is an unbiased survey of art-making with no agenda but the deep need to make it, and of the artists working in America’s backwaters.
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.
Michelle Dizon,The Archive’s Fold, Mother in Rio Grande, Cotabato City, c1958.
Three curators and 11 artists retell the colonial history of the Philippines through subjective and personal frames.
Casey Reas. © the artist.
Reas is known as the man who helped to create the open-source programming language Processing and brought coding within the grasp of visual artists. Here, he talks about how his work has changed over the course of his career and gives his views on the future of creativity and computers.
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.
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