Plastic: Remaking Our World
Klarenbeek & Dros in collaboration with Luma, cultivation of micro algae for biopolymers. Photo: Antoine Raab, courtesy of Luma.
Dundee’s V&A Design explores the fascinating history of this miraculous but now highly controversial material, and considers how we can rehabilitate it
John Lyons, Mama Look A Mas Passin, 1990. Oil on canvas. Courtesy the artist.
Paul Dash, Errol Lloyd and John Lyons show their own works alongside those of others from the collections of the Fitzwilliam Museum and Kettle’s Yard to present the pleasure and the pain that Carnival evokes for British Caribbean artists.
Elizabeth Price. Video still: UNDERFOOT, 2022. 2-channel video projection. Courtesy of Elizabeth Price Studio.
Price’s explorations of the archives of carpet manufacturers operating in Scotland from the 1830s to the 2000s bring sound, image and archive together to expose the power, gender and knowledge structures at the heart of this social history.
Portrait of Vanessa Baird. Photo: Frode Fjerdingstad. Courtesy the artist and OSL contemporary.
As two shows of her thrilling, carnivalesque drawings open in the UK, the Oslo-based artist talks about personal upheaval and the role of art in society.
Marianne Werefkin, Twins, 1909. Tempera on paper, 27.5 x 36.5 cm. Fondazione Marianne Werefkin, Museo Comunale d'Arte Moderna, Ascona.
This is a brilliant exposition of these four painters, who were working in Germany at the start of the 20th century, as they provide a female, and often astonishingly intimate, slant on motherhood, friendship, and city and rural life.
Installation view of Klara Kristalova, Strange Clay: Ceramics in Contemporary Art, Hayward Gallery, London (26 October 2022 - 8 January 2023). Photo: Veronica Simpson.
Expect the unexpected from this exuberant show of ceramic fine art, filled as it is with fantastical forms, uncanny creatures, unlikely shapes and unfamiliar scales.
Qiu Zhijie, installation view, Talbot Rice Gallery. Photo: Sally Jubb Photography, courtesy Talbot Rice Gallery.
In this, Qiu Zhijie’s first solo UK show, we must mentally navigate his ink map paintings, in which the conceptual is intertwined with the painterly, the painterly with the calligraphic, and we must physically navigate his paper reliefs, set out on the floor like an archaeological dig.
John Riddy portrait, courtesy the artist.
Riddy talks about his work over the years and his new show at Frith Street Gallery in London, which features nine landscape photographs made over two years, capturing a single scene in Norfolk across the seasons.
Yvonne Farrell and Shelley McNamara (right) inspect their model at Sir John Soane’s Museum, London. Photo: Veronica Simpson.
Designing a new building for the LSE, Grafton’s founders, Yvonne Farrell and Shelley McNamara, were inspired by Georgian architect John Soane’s mastery of light in the building opposite. They talk about this and a shared social and spatial sensibility, revealed in an exhibition comparing their building and Soane’s.
Henry Fuseli. Sophia Fuseli in an elaborate braided head-dress, c1795. Pen and black ink, brush and watercolour and opaque watercolour, 17.4 x 14.4 cm. Auckland, Auckland Art Gallery Toi o Tāmaki, purchased 1965.
A precisely focused exhibition takes us into the disturbing mind of the eccentric 18th-century artist Henry Fuseli through his troubling drawings of contemporary women.
The Artist’s Studio: A Cultural History, by James Hall. Published by Thames & Hudson.
Hall’s accounts of the changing nature of artists’ studios from Greek antiquity onwards are enthralling. It’s just a pity that he devotes so little of the book to the changes in this century and the last.
Marina Strocchi. Photo: Viki Petherbridge.
An internationally recognised artist in her own right, Strocchi has also spent many years in Central Australia mentoring Indigenous artists. She talks of how she was first moved by Aboriginal art and how she fought to carve out time for her career.
Alan James, Wounded Love. Acrylic, 40 x 35 cm. Photo: Anna McNay.
Paying lip service is not enough. The artworks in this exhibition, made by members of the mental health arts charity H’arts in Mind, cry out for an end to disability discrimination and for our society to start talking about and ending the stigma attached to mental ill health.
Adrian Ghenie, Untitled 6, 2022. Oil on canvas, 140 x 140 cm. © Adrian Ghenie. Photo: Jörg von Bruchhausen. Courtesy Thaddaeus Ropac gallery, London · Paris · Salzburg · Seoul.
Two new series by the history-fixated Romanian painter see him tackle the woes of the digital age and showcase a new technique.
Shi Jinsong. Go Ahead NO.1, 2016 (detail). Trunk, motorcycle, audio and lighting, 161 3/8 x 35 1/2 x 54 3/4 in. Installation view, SCAD Museum of Art. Photo courtesy SCAD Museum of Art.
With his tree motorbikes modelled on Harley-Davidsons and bamboo fashioned from metal, Shi subverts the traditional Chinese scholar’s garden, mirroring the transformation of China from an agrarian nation into industrial nation with the positives and the perils that has brought.
Stephen Willats at the launch of Social Resource Project for Tennis Clubs: Tennis Tournament, Saturday 8 October 2022, The Park Tennis Club, Nottingham. Photo: Bronac Ferran.
In the 1970s, Willats worked with four socially disparate tennis clubs in Nottingham in a participatory project. This exhibition melds his contemporary insights into the same locations with those of 50 years ago.
Harold Cohen, First Sighting, 2012. Oil over pigment ink on canvas, 121.9 x 219.7 cm.
Could one human’s lifetime of artistic knowledge be encoded? That is what Cohen set out to discover when he began work on what would become the AARON computer program.
Helen Saunders. Cabaret, c1913-14. Drawing. The Courtauld, London (Samuel Courtauld Trust). © Estate of Helen Saunders.
One of only two female members of the vorticists’ group, her work was later sidelined. This show goes some way to redressing those years of obscurity, with her singular vision and artistry shining through.
Atta Kwami. Photo: Josh Jones. Courtesy Modern Painters, New Decorators.
The artistic director of the Serpentine Galleries and the director of the Maria Lassnig Foundation explain the significance of the Maria Lassnig Award for mid-career artists, and discuss the work of the 2021 recipient, the late Atta Kwami.
Kate Groobey, Photo courtesy of the artist and Sim Smith London.
The artist talks about bringing her paintings to life through performance, diverse cultural and linguistic influences, and – the subject of her current show – the concept of a ‘female stallion’.
Gabriel Orozco. 19.XI.21 (b), 2021. Gouache, tempera, ink and graphite on paper, 12.8 x 18.2 cm (5 1/16 x 7 3/16 in). © Gabriel Orozco. Photo © Gerardo Landa Rojanol.
During the Covid-19 pandemic, reflecting his concern with the fragility of our environment, Orozco began to create an image of the plants around him each day in a small notebook, his work a curious mixture of precision, accident and downright messiness.
Sámi artists Anders Sunna, Máret Ánne Sara and Pauliina Feodoroff. Photos: Elizabeth Fullerton.
Sámi artists Anders Sunna, Máret Ánne Sara and Pauliina Feodoroff have transformed the Nordic Pavilion to highlight the continuing struggle against colonialism, discrimination and land possession faced by Europe’s only Indigenous people.
Senga Nengudi performing Air Propo at JAM, 1981. Courtesy Senga Nengudi and Lévy Gorvy.
Linda Goode Bryant’s gallery and experimental space gave prominence to black artists and artists of colour in the 1970s and 80s. This show encapsulates the spirit of JAM, which did much to shape the landscape of contemporary American art.
Mary Beth Edelson, Grapceva Neolithic Cave, 1978. Image courtesy the estate of Mary Beth Edelson and David Lewis.
Nottingham Contemporary takes a richly rewarding descent into the art of the underground: a place for ritual, transformation and storage depots.
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