Tunji Adeniyi-Jones talking to Studio International at the opening of That Which Binds Us at White Cube Bermondsey, London, 19 November 2021. Photo: Martin Kennedy.
Adeniyi-Jones talks about his new paintings in That Which Binds Us, his first solo show at White Cube Bermondsey
Joy Labinjo at the launch of 5 more minutes, 11 November 2021. Brixton Underground station. Photo: Benedict Johnson, 2021.
For her first public commission at Brixton underground station, the young London-based artist reflects on the importance of the hair salon in her own life, as well as within black British female culture more widely.
Albrecht Dürer. Christ among the Doctors, 1506. Oil on panel, 64.3 x 80.3 cm. Museo Nacional Thyssen-Bornemisza, Madrid (1934.38). © Museo Thyssen-Bornemisza, Madrid.
The German artist was a great traveller, visiting the Alps, Italy and the Low Countries. This exhibition attempts to show how the places he visited and the artists he met influenced his creativity.
The Courtauld Gallery. Photo: Benedict Johnson.
After a three-year, £57m restoration and refurbishment by the Stirling-Prize winning architects Witherford Watson Mann, the Courtauld Institute in London is a beautiful showcase for one of Europe’s finest art collections.
Archie Brennan, Chain, 1979. © The Estate of Archie Brennan. Photo: Michael Wolchover.
If you still think of tapestry as a traditional craft, the range of subjects and techniques in the works in this group exhibition make clear that it is equal to any other fine art.
Hervé Télémaque: A Hopscotch of the Mind, installation view, 7 October 2021 – 30 January 2022, Confidence (Secret). Photo: Hugo Glendinning.
Colonialism, racism and politics dominate the works in Télémaque’s intriguing, though often baffling, cartoon-like imagery.
John Henry Lorimer. Flight of the Swallows, oil on canvas, 1906. City Art Centre, Edinburgh Museums and Galleries. Photo: Eion Johnston.
Lorimer’s quiet craftsmanship and extraordinary handling of light shine through in this exhibition of his work, while a film, music and poetry provide background to his life.
Suzanne Valadon. Self-Portrait, 1927. Collection of the City of Sannois, Val d’Oise, France, on temporary loan to the Musée de Montmartre, Paris.  © 2021 Artist Rights Society (ARS), New York. Image by Stéphane Pons.
Born into poverty, this extraordinary and spirited woman rose to become a critically acclaimed painter during her lifetime, but she has since been sidelined. This splendid show is a revelation.
Christiane Baumgartner in her studio, Leipzig, 2021. Photo: Werner Lieberknecht.
Baumgartner talks about being brought up in East Germany before the fall of the Berlin Wall and how that has shaped her work, why she has moved from depicting urban life to focusing on nature, and discusses her new body of prints and drawings at Cristea Roberts Gallery in London.
John Abell. Image courtesy the artist and Arusha Gallery, Edinburgh.
The artist talks about Welsh mythology, poets and nationalism, moving between linocut and painting, and his latest work at the Arusha Gallery in Edinburgh.
Nika Neelova portrait. © the artist.
The artist talks about how her multilingual upbringing may have shaped her thoughts and her work, her interest in the flow of time through objects, and why her latest show involves silted-up pipes.
Jean-Michel Othoniel: The Narcissus Theorem, Petit Palais, Paris 2021. Wild Knots hang over a lane of blue glass bricks. Photo: Ana Beatriz Duarte.
This show, based on work Othoniel has done with the mathematician Aubin Arroyo, weaves a spell of enchantment using glass, mirrors, beads and light.
Mark Rothko 1968: Clearing Away. Pace Gallery, 5 Hanover Square, London, October 8 – November 13, 2021. Artwork on paper by Mark Rothko Copyright © 2020 by Kate Rothko Prizel and Christopher Rothko. Photo: Damian Griffiths, courtesy Pace Gallery.
A minutely focused show captures the great colour-field painter at his most intimate and playful.
Petrit Halilaj, Paesaggio Fantastico (Fantasy Landscape), 1999. Courtesy the artist and Giacomo Poli.
Halilaj is now a renowned artist who has shown around the world, but this poignant exhibition draws on the work he made as a traumatised 13-year-old fleeing the atrocities of the war in Kosovo.
Fahrelnissa Zeid in her studio.
© Raad Zeid Al-Hussein.
With more than 100 artists and about 400 works, this huge, inclusive show celebrates women whose art contributed to the abstract canon up until the 1980s, including pioneers in dance, theatre, film and photography.
Emeka Ogboh portrait, copyright the artist.
As his latest show, at the Gropius Bau in Berlin, explores his Igbo heritage, Ogboh explains why he was drawn to work with sound and how his practice has evolved.
Objects of Common Interest, Tube Light I and Tube Light II, 2019, installed among Isamu Noguchi’s late-career basalt and Manazuru stone sculptures in The Noguchi Museum’s indoor-outdoor gallery, Area 1. Photo: Brian W. Ferry. ©INFGM / ARS.
In this collaborative show, the Greek architects Eleni Petaloti and Leonidas Trampoukis insert fascinating objects of their own among the works of Isamu Noguchi.
Laura Knight, The Cornish Coast, 1917. Oil on canvas. On loan from and photo courtesy Amgueddfa Cymru National Museum Wales. © Reproduced with permission of The Estate of Dame Laura Knight DBE RA 2021. All Rights Reserved.
With more than 160 works, this ambitious retrospective highlights Knight’s considerable achievements in the context of women’s rights and her evident skill. What it fails to do is address the criticism that her work lacks substance.
Lygia Clark. Animals LC3, 1969. Aluminium. Sainsbury Centre Collection. © The World of Lygia Clark Cultural Association.
There is some compelling work here, but this could have been a chance to see a century of revolution in art, science and technology from the 1920s to the present, so neglecting the pre-1950 period seems a shame.
Margaret Mellis, Rust Yellow, 1990. Driftwood construction, 89 x 110 cm. Installation view, Towner Art Gallery, 2021.
In this small but inspiring exhibition of work by Margaret Mellis, an unfairly overlooked member of the St Ives group, her joy of colour shines through, whether in her small collages, her later oil paintings or her driftwood constructions.
Lucy Stein, Wet Room, 2021. Installation view, Spike Island, Bristol. Courtesy the artist and Galerie Gregor Staiger, Zurich. Photo: Max McClure.
Made during pregnancy and the Covid pandemic, these new works explore motherhood, goddess culture and anxiety.
Jordan Casteel. Direct Response, 2021. Oil on canvas, 182.8 × 142.2 × 3.8 cm (72 × 56 × 1.5 in). Photo: Todd-White Art, Courtesy Massimo de Carlo Gallery.
To enter this show is to enter Casteel’s world. Drawn in by her monumental portraits of often marginalised people, you are allowed an intimacy with her subjects as if they are there with you.
Jacqueline de Jong at Mostyn Gallery, Llandudno.
With the opening of her first major UK solo show in her 60-year career, De Jong talks about her time as part of the revolutionary Situationist International movement, her ever-changing style and her empathy for what is happening in the world.
Angelica Mesiti, Over the Air and Underground, 2020. Installation view, Angelica Mesiti: In the Round, Talbot Rice Gallery, University of Edinburgh, 2021. Photo: Sally Jubb.
Mesiti skilfully choreographs our experiences, guiding us around the gallery and immersing us in the worlds of bees, trees and ancient music in her evocative sound and video installations.
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