Biennale Gherdëina 9: The Parliament of Marmots
Tribute to Lin May Saeed, Works 2006 – 2023. Sculptures, reliefs, cut-paper silhouette. Realised by GAMeC, Bergamo in Collaboration with Biennale Gherdëina 9. Courtesy of The Estate of Lin May Saeed and Jacky Strenz, Frankfurt/Main. Photo: Tiberio Sorvillo.
Against the breathtaking landscape of the Val Gardena in Italy’s Dolomites, under the curation of Lorenzo Giusti, contemporary artists explore the links between culture and nature, between humans and the non-human
Zanele Muholi photographed at Tate Modern, 2024. Photo (c) Tate (Larina Fernandes).
Anger, hurt, vulnerability, love, togetherness, celebration, passion … South African visual activist Zanele Muholi captures and evinces every imaginable emotion at high intensity.
All That Glitters: A Story of Friendship, Fraud and Fine Art by Orlando Whitfield, published by Profile.
Orlando Whitfield recounts the behind-the-scenes story of his friend and one-time business partner Inigo Philbrick, the charismatic man finally sentenced to seven years in prison for fraudulent art-dealing.
Max Liebermann, Self-portrait at the easel to the right, 1908. Oil on canvas. Gallerie degli Uffizi, Florence © Gabinetto Fotografico delle Gallerie degli Uffizi.
This exhibition explores uncharted territory not only by tracing Max Liebermann’s visits to Italy but also by revealing how much interest Italians showed in the works of this German impressionist.
Angelica Kauffman. Self-portrait with Bust of Minerva, c1780-81. Oil on canvas, 93 x 76.5 cm. Grisons Museum of Fine Arts, on deposit from the Gottfried Keller Foundation, Federal Office of Culture, Bern.
Finally, 256 years after Angelica Kauffman became one of its founding members, the Royal Academy is giving a solo exhibition to the artist who, despite the challenges to her sex, more than earned her place in history.
Dominique White in her studio in Todi during her Italian residency, 2024. Photo: Zouhair Bellahmar.
Ahead of her Whitechapel Gallery commission, the winner of the Max Mara Art Prize for Women talks about manufacturing, mythology and submerging work underwater.
Judy Chicago: Revelations, 2024. Installation view, Serpentine North. © Judy Chicago/Artists Rights Society (ARS), New York. Photo: Jo Underhill. Courtesy Judy Chicago and Serpentine.
After years of patriarchal prudishness and censorship, the vulva is now considered acceptable art world imagery. But does its dominance in Judy Chicago’s biggest UK institutional show so far reveal progress in gender equality or just her marketability?.
Installation view, Donald Rodney: Visceral Canker, Spike Island, Bristol, 2024. Photo: Lisa Whiting.
He was a young Black artist who railed against racism and sickness, both personal and in society. This retrospective, more than 25 years after his untimely death, is a reminder that his work is as relevant today as it was in his lifetime.
Installation view, Phyllida Barlow. Unscripted, Hauser & Wirth Somerset, 2024. © Phyllida Barlow Estate. Courtesy Phyllida Barlow Estate and Hauser & Wirth. Photo: Ken Adlard.
Barlow’s playful approach turned found objects into composites that shone, while nodding to the artists she loved. Following her death last year, the curator here has attempted to reimagine rather than repeat her installations.
Eric Yahnker. Study for a Hollywood Ending, 2024. Pastel on Stonehenge, 11 x 24 in (28 x 61 cm). Image courtesy The Hole, Los Angeles.
The world may define Los Angeles by Hollywood, but the culture is better represented by the art.
Installation view, Paris 1874: Inventing Impressionism, Musée D’Orsay, Paris 2024. Photo: Sophie Crépy - Musée D’Orsay.
This glorious show recreates much of the first impressionist exhibition in 1874 alongside works from the traditional Salon that same year. And it does so both through the original artworks and via a state-of-the-art virtual walk through the impressionists’ world 150 years ago.
Emma Stibbon. Photo: Rob Harris.
Tackling issues of climate change and coastal erosion in both the local area and as far afield as the two Poles, Emma Stibbon’s drawings and installations serve as monuments to what may all-too-soon be gone.
Installation view, Vera Molnár: Speak to the Eye, Pompidou Centre, Paris, 2024. Photo: Janeth Rodriguez-Garcia MNAM-CCI.
Molnár plays with geometry and form, exploring shape, line and colour, using algorithms and computers to generate work in which humour bubbles under. Sadly, she didn’t live to see this retrospective to honour her 100th birthday.
Modigliani: Modern Gazes, installation view, Museum Barberini, Potsdam, 27 April – 18 August 2024. Photo © David von Becker.
This multifaceted exhibition positions the artist Amedeo Modigliani among his contemporaries, traces the art historic roots that make up his unique style and highlights his early documentation of the modern woman.
Kunstsilo next to Kilden Performing Arts Centre on the archipelago of Odderøya. Photo: Alan Williams Photography.
The inaugural exhibition in this repurposed grain silo presents works from the Tangen Collection, demonstrating the markedly different styles of Nordic modern artists.
Anselm Kiefer, Melancholia, 2005. Oil, acrylic, rust and polyhedral sculpture on canvas. Sculpture made out of iron and glass, containing ash, iron, dried flowers, 280 x 380 cm (110.2 x 149.6 in). Installation view, Expansive Change: Distortion as Dialogue in Modern & Contemporary Art, Leila Heller Gallery, New York, 2024. Photo: David Kaminsky.
Among a flotilla of known artists, curator Santiago Rumney-Guggenheim has launched a few lesser-known names in an overview from 1920 to 2014, a time when art changed at a head-spinning pace.
Kimsooja, To Breathe, 2015. Chromatic spectrum projection with mirror platform floor, Gallery installation, 9 x 675 x 900 cm, duration: 10 min, 32 sec. Installation view, Tanya Bonakdar Gallery, New York, 12 April – 14 June 2024. Photo: Pierre Le Hors. Courtesy the artist and Tanya Bonakdar Gallery, New York / Los Angeles.
Ambiguous, talismanic, intangible, meticulous – Kimsooja’s immersive installations explore themes of being, non-being and coming into being.
Installation view, The Wyllieum, Greenock. Photo: Sean Patrick Campbell.
A new museum dedicated to George Wyllie, a truly unique figure in the recent history of Scottish art, opens in Ocean Terminal on the River Clyde.
Installation view, Matthew Krishanu, The Bough Breaks, Camden Art Centre, London, 26 April – 23 June 2024. Photo: Rob Harris.
Interweaving childhood memories and imagination with the history of painting, Matthew Krishanu creates narrative series of universal relevance.
Wassily Kandinsky. Improvisation Deluge, 1913. Lenbachhaus Munich, Donation of Gabriele Münter, 1957.
A long-overdue exhibition exploring the friendships and relationships, shared concerns and disagreements between the expressionist artists associated with the Blue Rider.
Decolonised Structures (Sir Winston Churchill in foreground), Installation view, Yinka Shonibare CBE: Suspended States, Serpentine South, 2024. © Yinka Shonibare CBE 2024. Photo: © Jo Underhill. Courtesy Yinka Shonibare CBE and Serpentine.
When does an artistic trope stop being art? The incessant repetition of Yinka Shonibare’s trademark batik print is starting to wear thin.
Marisa Merz: Listen to the Space, installation view, LaM museum, 3 May – 22 September 2024. Photo: F. Iovino / LaM.
Refusing completion, Marisa Merz’s works bear traces of the studio, materially suggesting a state of perpetual mutability and mobility.
Hildigunnur Birgisdóttir talking to Studio International at the opening of That’s a Very Large Number: A Commerzbau, Iceland Pavilion, Arsenale, Venice, April 2024. Photo: Martin Kennedy.
Recycled jute coffee bags, plastic pizza and a heap of wet wipes – for Iceland’s Pavilion at this year’s Venice Biennale, Birgisdóttir takes a wry look at our consumerist society and the mixed messages we absorb subliminally.
Tony Cragg talking to Studio International at the opening of his exhibition at Castle Howard. Photo: Martin Kennedy.
In the gardens of Castle Howard, north Yorkshire, Tony Cragg talks about his different sculptural series and the juxtapositions, links and contrasts they bring to the stately home’s permanent collection, architecture and landscape.
studio international logo

Copyright © 1893–2024 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.

twitter facebook instagram

Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA