logo studio international
Steve McQueen, Charlotte, 2004, installation view, Tate Modern, 2020. © Steve McQueen. Courtesy the artist, Thomas Dane Gallery and Marian Goodman Gallery © Photo: Luke Walker.
The vision of artist and film-maker Steve McQueen is bold and thought-provoking in this challenging exhibition
Yasumasa Morimura performing over film screening, Ego Obscura, Tokyo 2020, Hara Museum of Contemporary Art, Shinagawa-ku.
In his search for ‘the self’, Morimura takes on the guise of well-known historical figures and characters as he explores postwar Japan and the politics of power.
Gianfranco Zappettini: The Golden Age, installation view, Mazzoleni London, Courtesy London-Torino.
As his first solo exhibition in London opens at Mazzoleni, Zappettini recounts his ease with unconformity, the quest for transcendence, and why Joseph Kosuth was wrong about painting.
Portrait of An-My Lê. John D. & Catherine T. MacArthur Foundation.
Photographer An-My Lê talks about her project Silent General and the personal and political tensions that run though her work.
Daniel Arsham in his studio. Photo: Guillaume Ziccarelli. © Courtesy of the artist & Perrotin.
Deities and emperors decay and crystallise in the American artist-designer’s enjoyable exhibition at Perrotin Paris.
Tony Lewis: The Dangers (As Far As I Can See), installation view, Massimo De Carlo, Milan / Belgioioso, 22 January – 14 March 2020. Photo: Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong.
The artist explains the lengths he must go to in order to create his signature graphite ‘floor drawings’ and talks about his latest exhibition, at Massimo de Carlo, Milan, based on the legendary 1965 Cambridge debate about race between James Baldwin and William F Buckley Jr.
Darren Waterston talking to Studio International ahead of the opening of his installation Filthy Lucre: Whistler’s Peacock Room Reimagined, at the Victoria & Albert Museum, London. Photo: Martin Kennedy.
Studio International spoke to Waterston ahead of the opening of his installation Filthy Lucre: Whistler’s Peacock Room Reimagined, at the Victoria & Albert Museum, London.
Albert Reuss. Fence with Stripped Tree Trunks, originally: Fence and Branches, 1971. Oil on canvas, 63.5 x 76.2 cm. Collection of Newlyn Art Gallery.
The Jewish painter escaped Nazi persecution in his native Austria and moved to Cornwall, but his haunting art is testament to the mental torment that pursued him.
Francesco Vezzoli, Il Piacere (Isadora Duncan), 2019. Inkjet print on canvas, embroidery with metallic threads, fabric and costume jewellery, 43 x 34 cm. Photo © Courtoisie de l’artiste.
A diverting exhibition at Musée d’Orsay explores the influential art criticism of the quintessential decadent writer, helped – and hindered – by the contemporary Italian artist Vezzoli.
Ann Dumas in Giverny.
One of the UK’s leading curators, Dumas talks about women in the art world, the trials and triumphs of curatorial life, the differences between working in the US and the UK, and Van Gogh, Cezanne, Degas, and Picasso – the subject of her latest exhibition, about to open at the Royal Academy.
Isaac Julien. Encore II: (Radioactive), 2004. Super 8 and 16mm film transferred to digital, colour, 3 min. Installation view, Dundee Contemporary Arts, 2019. Photo: Ruth Clark.
In this truly hopeful, reflective group show, international artists explore alternative worlds and ways of living.
Nick Devison. Home VII, 2019. Photographic etching, Open and Variable Edition, paper and image size 38 x 28 cm. Copyright Nick Devison 2019.
As part of the Actinic Festival, Kristina Chan, Nick Devison, Itamar Freed, Morwenna Kearsley and Marysia Lachowicz show how actinism continues to shape photography and printmaking.
David Reed: New Paintings, 2019, installation view. Artwork © 2020 David Reed/Artists Rights Society (ARS), New York. Photo: Rob McKeever. Courtesy Gagosian.
In his second solo show with Gagosian, Reed displays his many strengths in 15 new and impressive works.
Installation view, Not Vital. SCARCH’ Hauser & Wirth Somerset 2020. Photo: Ken Adlard. Courtesy of the artist and Hauser & Wirth © Not Vital.
Is there another living artist who has reimagined what architecture is or does quite so comprehensively as Vital?.
Peter Fischli David Weiss, Should I paint a pirate ship on my car with an armed figure on it holding a decapitated head by the hair?, installation view, Sprüth Magers, London, 2020. Courtesy Sprüth Magers. Photo: Stephen White.
Three works from the duo’s career point up their concern with commonplace objects and the melancholy humour of their art.
Ruth Asawa: A Line Can Go Anywhere, installation view, David Zwirner London, January 10 - February 22, 2020. Photo: Jack Hems. © The Estate of Ruth Asawa. Courtesy The Estate of Ruth Asawa and David Zwirner.
Asawa, who was known for weaving sculptures with wire and studying at Black Mountain College under Josef Albers and Buckminster Fuller, is featured in this first UK solo show.
Michael Brennand-Wood, Babel, 1992. Wood, paint, wire, embroidery. © The artist. The Whitworth, The University of Manchester.
This fascinating and engaging exhibition puts the idea of female collectors at the heart of a social and cultural history of textiles.
Alexandra Haeseker: The Botanist’s Daughter. Installation view, Edinburgh Printmakers, 2020. Photo: Alix MacIntosh.
Haeseker’s prints of the eco system that is often invisible to our eyes, below our feet, highlight how the destruction of fragile life forms can impact on our own lives.
Norman Cornish. Gantry at Night, undated. Pastel on paper, 53 x 74 cm. © Courtesy of Norman Cornish Estate.
The son of the artist Norman Cornish, whose work is synonymous with mining life in the County Durham town of Spennymoor, looks back at his father’s life and artistic legacy.
Saad Qureshi, Something About Paradise, 2019 (detail). Courtesy the artist and Yorkshire Sculpture Park. Photo © Jonty Wilde.
Step into a fantastical dreamworld as you explore Qureshi’s mindscape inspired by stories British people have told him of how they imagine paradise.
Marc Chagall. The Trampled Flowers, illustration for the publication Daphnis and Chloe, 1961, lithograph. Private collection. © ADAGP, Paris, 2019.
This colourful exhibition explores the influences of the Hellenic world and its Bacchanalian myths on the Jewish artist of folklore, circus, and biblical tales.
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