Studio International

Published 01/07/2011

Jonn Herschend. Installation detail, The Book You Said I Never Returned, “Forest Office Proposal Installation,” 2011. Office cubical, plant, gouache on paper, oil on canvas, dimensions variable. Courtesy of the artist.

Jonn Herschend: ‘We can use humour seriously in art to push agendas forw...

A Will Brown: Who are your most important influences ...

Jason Rhoades. Fucking Picabia Cars / Picabia Car with Ejection Seat, 1997/2000. Installation view at BALTIC. Photograph: Colin Davison.

Jason Rhoades, Four Roads

References
1. Jason Rhoades, Four Roads, edited by Ingrid Schaffner, published by DelMonic...

Janet Biggs. Can't Find My Way Home, 2015 (video still 1). 4-channel, high definition video installation with sound 8:23 minutes, looped. Courtesy of the artist.

Janet Biggs: ‘This project traces my very specific memories of my family...

Lilly Wei: Would you tell me about the origins of this ...

Jessica Stockholder. Courtesy of the artist and Mitchell-Innes & Nash, NY.

Jessica Stockholder: ‘Art changes, taking account of the present moment...

Natasha Kurchanova: You have been making art and exhibi...

Jim Campbell. Tilted Plane, 2011 and Exploded View (Commuters), 2011. Installation view at Dundee Contemporary Arts. Photograph: Ruth Clark.

Jim Campbell: Indirect Imaging

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Jim Campbell: Indirect Imaging

American artist Jim Campb...

Janenne Eaton. Installation view. High Impact Styrene, enamel paint, aluminium, steel, fibreglass, fabric, mixed media, 244 x 620 cm (variable).

Janenne Eaton: ‘My work is deeply political’

Janet McKenzie: Your installation of simulated LED screens via a grid of 28 panels...

Jockum Nordström in his studio. Photograph: Curt Sjodell

Jockum Nordström: ‘There’s a self-portrait in every single thing I do...

Harry Thorne: Tell me about the process behind For the ...

John Keane. Audience (1), 2005. Oil on linen © John Keane, courtesy of Flowers Gallery London and New York.

John Keane interview: ‘Art shouldn’t be sensationalist, but at the sam...

Christiana Spens: When is art propaganda, and when is p...

Jasper Johns. Study for Regrets, 2012. Acrylic, photocopy collage, coloured pencil, ink and watercolour on paper, 28.9 x 45.1 cm. Collection of the artist.

Jasper Johns: Regrets

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Jasper Johns: Regrets

Jasper Johns’ new works at the Courtauld ...

Jyll Bradley, Grenn Light (for M.R.), Folkestone Triennial 2014.

Jyll Bradley: interview

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Jyll Bradley: interview

Jyll Bradley, a native of Folkestone, h...

Joe Winkleman, 2014. Photograph: Nick Howard.

Joe Winkelman: interview

Janet McKenzie: Why did you choose the Ruskin when Abstract Expressionism was in an ascendant position and...

Jimmy Pike. Jamirtilangu, 2002. Synthetic polymer paint on canvas, 91 x 91 cm. Copyright the estate of the artist and Rebecca Hossack Art Gallery.

Jimmy Pike: A Desert Cowboy in London – Retrospective

References
1. Conversation with Pat Lowe, London, 29 June 20...