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Leila Heller on opening night of her new gallery space at 17 East 76th Street.
Gallerist Leila Heller talks about showing Andy Warhol and Jean-Michel Basquiat in the 1980s, after meeting them in New York clubs, promoting artists from the Middle East, her current show curated by Warhol’s muse – and why she has just moved her gallery back to where it all began
Documentation of the making of Assisted Self-Portrait of Kristel Asjoe, from Assembly (2013-2014) by Anthony Luvera.
Luvera is the editor of Photography for Whom?, a new journal focusing on community photography projects. Here, he talks about lesser-known works from a movement that began in the 1970s, as well as contemporary practices.
France-Lise McGurn. Photo: Tate Photography.
McGurn talks about motherhood, sleeplessness and strangeness in Glasgow, Berlin and Ibiza, and how they have fed into the work for her new exhibition at Tate Britain.
Milton Avery. Two Poets, 1963. Oil on canvas, 127 x 152.4 cm (50 x 60 in). Courtesy Victoria Miro, Venice.
Focusing on works done in the final four years of Avery’s career, these portraits depict the people and motifs closest to him.
Issy Wood, All The Rage, installation view, Goldsmiths Centre for Contemporary Art, 2019. Photo: Mark Blower.
Wood’s tragicomic paintings explore the apathetic alienation symptomatic of a networked, throwaway society, in which our understanding of ‘self’ is determined through the consumption of goods and images.
Terry Gilliam, Freud Analysed, 1969. Collage, airbrush and watercolour on card, 40 x 30.8 cm. Lent by the artist.
This show explores the ways in which collage has been used to create work that is, by turns, playful, chaotic, expressive and innovative.
Installation view of work by Wolfgang Laib, as part of Yorkshire Sculpture International, at The Hepworth Wakefield. Courtesy the artist and The Hepworth Wakefield. Photo: Nick Singleton.
A new international quadrennial across Leeds and Wakefield opens with an introspective first edition, which finds the sculptural in some surprising places.
Tess Jaray. Photo: Turkina Faso, 2019.
Jaray looks back at a career that has spanned more than 60 years and talks about the influence on her of American painting in the 50s and 60s, the importance of architecture and teaching at the Slade.
Olafur Eliasson in collaboration with Einar Thorsteinn. Model room, 2003. Wood table with steel legs, mixed media models, maquettes, prototypes, dimension variable. Installation view: Tate Modern, London. Photo: Anders Sune Berg, Moderna Museet, Stockholm. Purchase 2015 funded by The Anna-Stina Malmborg and Gunnar Höglund Foundation. © 2003 Olafur Eliasson.
There are nearly 30 years of work in this retrospective, so it is to be hoped that, despite the show’s crowd-pleasing, selfie-inducing tone, visitors take in Eliasson’s serious environmental messages.
Félix Vallotton, Self-portrait at the Age of Twenty (Autoportrait à l’âge de vingt ans), 1885. Oil on canvas, 70 x 55.2 cm. Musée cantonal des Beaux-Arts de Lausanne. Acquisition, 1896. Inv. 620. Photo: © Nora Rupp, Musée cantonal des Beaux-Arts de Lausanne.
The Royal Academy’s exhibition of Vallotton’s varied and strange work proves that some artists defy easy definitions.
Takis. Installation view, Tate Modern, 2019. Photo: Martin Kennedy.
This exhibition of work by Takis is mesmerising. His sculptures use magnetic energy to create sound and movement in a manner that is sometimes poetic, sometimes joyful and always haunting.
Heike-Karin Föll, my brain, 2010–19. Installation view (detail), Speed. KW Institute for Contemporary Art, Berlin, 2019. Photo: Frank Sperling.
In her first institutional solo show, the German artist plays on the fast fickleness of commodification, trend and fashion.
Ima-Abasi Okon, Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub, 2019. Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.
Old air-conditioning units, poor-quality ceiling tiles coated with ultrasound gel and gold – the utilitarian and the precious come together in Okon’s fascinating installations.
Leo Warner, director of 59 Productions.
Warner, design director of multimedia visual artists and impresarios 59 Productions talks about collaborative creativity, working across global as well as technical boundaries, sources of inspiration and how technology should always be subservient to the story.
Patrick Staff: The Prince of Homburg, installation view, Dundee Contemporary Arts, 2019. Photo: Ruth Clark.
Through video installation, sculpture and printmaking, Staff uses a play from 1810 as a vehicle to explore queerness and sexual identity in today’s world.
Gustav Metzger practicing for a public demonstration of Auto-destructive art, possibly by John Cox, for Ida Kar, 1960. © National Portrait Gallery, London.
This show of Metzger’s work, as part of the King’s Lynn Norfolk festival, looks at his years living in the town in the 1950s, a time that shaped his move to social engagement and activism in his output.
Attributed to Francesco Melzi, A portrait of Leonardo, c1515-18. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.
The Queen’s Gallery showcases the Royal Collection’s superb archive of Leonardo da Vinci drawings in an exhibition that reflects the mischief and the magic behind the greatest mind of the Renaissance.
John Akomfrah, Precarity, 2017. Ballasts of Memory installation view, BALTIC Centre for Contemporary Art, 2019. Photo: Rob Harris © 2019 BALTIC Courtesy of the artist, Smoking Dogs Films and Lisson Gallery.
Akomfrah’s skill as a film-maker and visual storyteller shines through in this compelling show.
New Orleans Museum of Arts Sydney and Walda Besthoff Sculpture Garden, installation view. Photo: Richard Sexton.
Devastated by Hurricane Katrina in 2005, the sculpture garden now has a spacious new extension and almost 30 additional works, including commissions from Teresita Fernández, Maya Lin and Elyn Zimmerman.
Francesc Ruiz. Photo: the artist.
The artist talks about his alternative porn installation, House of Fun, now on at Norway’s Momentum, launching a porn studies institute and having sex with insects.
Rosa Johan Uddoh. Auto Cutie, 2019. Performed in collaboration with the diasporic dance troupe DIDD (Department for International Dance Development).
Rosa Johan Uddoh continues her exploration of popular culture from a black feminist perspective by reimagining the BBC broadcaster Moira Stuart.
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