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Gerhard Richter: Forty years of painting

The enigma of the German painter Gerhard Richter (b.1932) is finally explored through Robert Storr's...

Richard Demarco's Edinburgh

Edinburgh belongs to a special kind of city deserving of the UNESCO designation as a...

Letter from Poland

Depart Edinburgh Airport BA 1435 at 7.40 am arriving Heathrow 09.15 am....

American Sublime: Landscape Painting in the United States 1820-1880

In the opening column of the curator Andrew Wilton’s excellent catalogue summary, The Sublime in t...

Arne Jacobsen Centenary

February sees the end of the celebrations marking the 100th anniversary of the birth of the Danish a...

Andy Warhol: A retrospective at Tate Modern

A series of major exhibitions are planned in association with the British Tourist Authority to bring...

The authentic and the twitch: architecture, tourism and simulacrum

The authentic and the twitch: architecture, tourism and simulacrum – Increasingly, we now seek to ...

Letter from Sydney

The year 2000 in Sydney was a hard act to follow. Every cynic - and there were many ...

Will Maclean: Driftworks

Will Maclean’s exhibition, ‘Driftworks’ at Dundee Contemporary Arts (24 November 2001 – 3 Fe...

Letter from Shanghai

Ever since the Treaty of Nangking opened Shanghai to foreign trade in 1842, the city...

The Art of Ken Done

Janet McKenzie's book, The Art of Ken Done, is about an Australian artist who, apparently, has never...

Ken Kiff – book review

The new book on Ken Kiff joins Thames and Hudson's list of finely produced, readable monographs....

Frank Auerbach

Frank Auerbach's career is celebrated at the Royal Academy in all the ways in which this institution...

The Print in Italy 1550-1620

‘The Print in Italy 1550–1620’ at the British Museum (27 September 2001–6 January 2002) is a...

The Las Vegas Guggenheim Museum

Rem Koolhaas, architect and author of Delirious New York, an important architectural tract of the mi...

The Royal Institute of British Architects' Stirling Prize 2001

Stirling Prize 2001 – This year's award ceremony in the Great Court of the British Museum (itself ...

Monuments for destruction

Where there are monuments, there is the urge to destroy them, through history. The twin towers of th...

Anthony d'Offay

Anthony d'Offay's recent and sudden announcement of closure seems shocking, if characteristically my...

You beaut country

You beaut country - a selection of Australian paintings 1940-2000. In his foreword to the exhibition...

Hieronymus Bosch

Hieronymus Bosch – Rotterdam is striving to regain a position on the culture city map, and this ex...

Comment on September 11

September 11, 2001 – Some happenings are so extraordinary that they outweigh, at least for the pre...

Frank Auerbach: Paintings and Drawings 1954-2001

The paintings on show at the RA have an effect that it would have been impossible to anticipate; the...

Michael Andrews revisited

If there was ever a clearer purpose and definition of the respective rationale behind the division o...

September Eleventh: European thoughts

The New York atrocity bears many aspects: barbaric evil of the most primitive kind accompanied by th...

Experiment Experiencia: Art in Brazil 1958-2000

The Brazil of the start of this period was scarcely realised in the recent Tate Modern extravaganza ...

Balthus

The painter Balthus died aged 93 in February this year. He was born in l908 as Balthasar Klossowski ...

Milton Avery Late Works — Landscapes and Seascapes, 1951–1963

It was an unexpected pleasure to see an exhibition of Milton Avery paintings in London this Autumn (...

Letter from Stockholm, September 2001

The newly opened memorial for Raoul Wallenberg (1912-1947) is a significant event in Stockholm...

Ed Ruscha: The Mountains

Ed Ruscha is 63, and Oklahoma born, but the coolest of cool Californian...

Dan Flavin

Dan Flavin's work is exemplary. Of what? Yet, he preferred to call his works simply 'proposals', rat...

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