The Wertheim Gallery, exhibiting Modern Painters, October 1930. Photo: The Lucy Wertheim Archive (left); Lucy Wertheim by Lafayette, 1938. Photo The Lucy Wertheim Archive
This exciting exhibition at the Towner is paired with another show, Reuniting the Twenties Group: From Barbara Hepworth to Victor Pasmore. Together, they look at the life and legacy of the gallerist Lucy Wertheim and the young British artists she championed in the 1930s
Marguerite Louppe. Le violon rouge. Oil on canvas, 31.5 x 38.75 in (80 x 98.4 cm). Image courtesy Rosenberg & Co, New York.
Married to the more well-known artist Maurice Brianchon, Louppe has long been overlooked. William Corwin, who has co-curated her first solo show in NY and her largest to date, explains how and why he has brought the work of this mid-20th-century artist to a wider audience.
Portrait of AA Bronson. Photo: National Gallery of Canada, Ottawa.
The pioneering artist, publisher and member of the groundbreaking trio General Idea talks about artists’ books, communes and posterity, the retrospective of the group now on at the National Gallery of Canada and ‘the book of a lifetime’ that accompanies it.
The Barbadian-Scottish artist has used sculpture, film and tapestry for her Scotland in Venice presentation. Her aim, she says, is to show that, through self-compassion and collective care, we can battle racism and colonialism.
Installation view of Who Are You: Australian Portraiture at The Ian Potter Centre: NGV Australia from 25 March to 21 August 2022.   
Photo: Tom Ross.
This inspiring show includes some of Australia’s best artists, past and present, and marks a shift in society regarding the impact of waves of immigration on its Indigenous people.
Installation view from Michaela Yearwood Dan: Let Me Hold You, at Queercircle, 9 June – 8 September 2022 © Deniz Guzel.
Marking the 50th anniversary of the UK’s first Gay Pride March, two exhibitions come together in a joyous celebration of the LGBTQ+ community.
Jacquiline Creswell portrait. Photo: Ash Mills. Sculpture: Sail, 2016 by Tony Cragg, White Onyx 220 x 114 x 34 cm. Courtsey of the artist and Lisson Gallery.
When Creswell joined Salisbury Cathedral as arts curator, she was verbally and physically abused. As she explains, it was her first challenge, but not her last. Here, she talks about bringing world-class art to the cathedral in her 12 years there, and her new show at Chichester Cathedral.
Biennale Gherdëina 8. Exhibition view at Sala Trenker, Ortisei, 2022. Photo: Tiberio Sorvillo.
Artworks by an eclectic mix of eco-activists and radical thinkers celebrate nature in all its forms, aiming to raise awareness of the fragility of our planet and making nature itself a participant in this year’s festival.
52 Artists: A Feminist Milestone (installation view), The Aldrich Contemporary Art Museum, 6 June 2022 to 8 January 2023. Photo: Jason Mandella.
How has feminism changed in the past half century? This show revisits Lucy Lippard’s historic show and adds 26 new artists to the mix to create a carefully woven tapestry of conceptual crossovers and historical reverberations.
Close Watch, Takala’s multi-channel video at the Finnish Pavilion, is based on her time working undercover as a security guard in a large shopping centre. As she explains, it explores the concept of how private companies exert control over the behaviour of the public.
Scala at work on Ethereal. Photo: Dan Scala.
When a cryptocurrency investor asked a glass artist to recreate the ethereum logo, the two men initially had different visions of how to do this. But, as they explain, eventually they arrived at Ethereal – the world’s first glass-based NFT.
Simone Leigh, Façade, 2022. Thatch, steel, and wood, dimensions variable. Satellite, 2022. Bronze, 24 × 10 × 7 ft 7 in (7.3× 3 × 2.3 m) (overall). Courtesy the artist and Matthew Marks Gallery. Photo by Timothy Schenck. © Simone Leigh.
This year’s citywide jamboree features riot and revolution, gyrating bodies, battling jet planes, burning fountains and an exhibition for prisoners’ eyes only .
Yessie Mosby, Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep, sitting peacefully upon the waters), 2022. Courtesy the artist. Co-commissioned by the Biennale of Sydney and The Institute of Modern Art, Brisbane; and Torres Strait 8, Poster wall, 2022 (detail). Courtesy the artists with posters by Mooki Pen, Dylan Mooney, Guy Ritani, BlakSeed, Waniki Maluwapi, Jaelyn Biumaiwai. Photography by Mary Harm, Bindimu, Torn Parachute and Daniel Billy. Co-commissioned by the Biennale of Sydney and The Institute of Modern Art, Brisbane. Background: Clare Milledge, Imbás: a well at the bottom of the sea, 2022 (detail). Courtesy the artist & STATION. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Installation view, 23rd Biennale of Sydney, rīvus, 2022, Pier 2/3 Walsh Bay Arts Precinct. Photography: Document Photography.
With rivers and wetlands at its thematic centre and Australia’s First People key, the 2022 biennale asserts that sustainability must no longer be a theme, but an action. This is art that packs a powerful political punch  .
Alicia Radage, Mother Bent, 2022. Courtesy of the artist.
As artists squeeze themselves into the tiny fishing town for this year’s event, Brexit, migration and the climate crisis are the dominating themes for many of their thought-provoking works.
Kiki Smith. Lilith, 1994. Image © Pace Gallery.
From goddesses and saints to demons, spirits and witches, from ancient to modern, this phenomenal exhibition celebrates the power of women and considers how that strength shapes our world.
Su talks about the new age group that tried to levitate the Pentagon, a story that informed her show at Venice, and says a lot of her work is about the interior of the body and physical transformation.
Otl Aicher: Design. Type. Thinking; Otl Aicher in his Ulm studio, 1953. HfG-Archiv /Museum Ulm.
Aicher’s designs for the 1972 Munich Olympics changed the face of graphic design, but there was much more to his work. This book explores how his writing, thinking and making reflected the political, cultural and social climate of his time.
Alfredo Jaar. Magician, 1979/2012. Lightbox with colour transparency. Transparency: 18 x 12 in (45.7 x 30.5 cm); Lightbox: 18 1/2 x 12 1/2 x 5 1/4 in (47 x 31.8 x 13.3 cm). © Alfredo Jaar. Courtesy Galerie Lelong & Co. and the artist, New York.
Now at two New York shows, Jaar continues to challenge social and political injustice. At the Whitney Biennial, we witness Black Lives Matter marchers being attacked by police and at Galerie Lelong, the artist gathers the work of more than 70 activist artists who have been central to his own thinking.
Milena Dragicevic. Opet, 2002. Oil on linen, 114.5 x 85.1 x 6.7cm (45 1/16 x 33 1/2 x 2 5/8 in). Arts Council Collection, Southbank Centre, London. © the artist.
Lubaina Himid curates this sprawling and powerful group show exploring cities as seen and experienced by women.
Gaudi, installation view, Musée d’Orsay, Paris, 2022. Photo: © Sophie Crépy.
Whether you consider him a madman or a genius, there is no doubt that Gaudí was responsible for a slew of incredible buildings in Barcelona. This retrospective, with three rooms devoted to the Sagrada Família alone, aims to aims to look beyond the cliches to the man himself and his work.
Rachael Louise Bailey. Photo courtesy the artist.
From the synthetic detritus of the oyster industry washed up on the Kent coast and the organic softness of sheep’s fleece, Bailey conjures up fascinating work. She explains what motivates her and how she became obsessed by these two very different materials.
Abbas Akhavan, Variations on a Folly, 2022. Courtesy the artist, The Third Line (UAE) and Catriona Jeffries (Canada). Photo: Keith Hunter.
The artist discusses his site-specific responses, often inspired by residencies, and the processes he uses to generate the most interesting work in that context.
United Visual Artists. Topologies, 2022. Installation view, Future Shock, 2022. Photo: © Jack Hems.
An audiovisual exhibition that joins the dots between contemporary art, electronic music and technology, with varied results.
O’Malley says she wants her Irish Pavilion installation to be a welcoming space, for visitors to ‘feel the power and the height and weight of things’.
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