Inside Other Spaces. Environments By Women Artists 1956-1976
Nanda Vigo, Ambiente cronotopico vivibile, 1967. Installation view Haus der Kunst, 2023. Photo: Veronica Simpson.
Many of the pioneers in environmental art were women, but their works were often ephemeral, destroyed once a show was over. Here, the curators have painstakingly recreated some of those works, putting their artists firmly back in the spotlight
Lisetta Carmi, I travestiti, Dalida, Genoa, 1965-67 (detail). © Martini & Ronchetti. Courtesy Archivio Lisetta Carmi.
Motivated by a profoundly humanistic spirit, Lisetta Carmi photographed marginalised communities. One year after her death, the Estorick Collection’s exhibition introduces the UK audience to her images of great strength and tender fragility.
Rory Pilgrim, The Undercurrent, 2019-ongoing. HD film, 50:00. Image courtesy EVA International.
Ireland’s biennial is this year based on the concept of gleaning, when unused crops are divided among these in need, and across the city of Limerick artistic offerings abound with positivity and collectivism.
Ave Libertatemaveamor, Flexibility, 2022. Paper, liner, marker, 18 x 12.5 cm. © the Artist.
The Ukrainian artist who goes by the name of Ave Libertatemaveamor talks about life in her country since the Russian invasion, the mural she worked on with George Gittoes for the rebuilt House of Culture in Irpin, and why drawing is so important to her.
Catherine Opie. Photo: Heather Rasmussen.
The photographer, known for her portraits of west-coast queer culture in the 1990s, today turns her camera to making portraits of architecture and cities, including the Vatican.
Bernard Cohen, Come Morning, 2023. Acrylic on linen, 105 x 145 cm. © Bernard Cohen, courtesy of Flowers Gallery.
An exhibition of recent works by the veteran British painter draws on medieval stained glass, Velázquez, nature and the process of painting.
Kaye Donachie in her London studio. Courtesy Maureen Paley, London.
Donachie, whose first UK solo institutional exhibition is now at Pallant House Gallery, reflects on her cast of reimagined muses, the influence of poetry and cinema on her imagery and the ongoing conversation between her paintings.
Installation view of The Feuerle Collection. Vishnu, Khmer, Banteai Srei Style, 10th century, stone. On the right: Anish Kapoor, Torus, 2002, steel. Photo: def image © The Feuerle Collection.
In an institution like no other, the Japanese-Swiss artist’s works are juxtaposed with her stuffed animal collection to create a lively menagerie.
Michael Rakowitz: The Waiting Gardens of the North, an IWM 14-18 NOW Legacy Fund commission in partnership with Baltic Centre for Contemporary Art. Photo: John McKenzie. © 2023 Baltic.
Rakowitz has recreated the Hanging Gardens of Babylon in the form of a sculptural relief and a living garden of plants and herbs, collaborating with local people with experience of displacement.
Pam Evelyn talking to Studio International at her east London studio, August 2023. Photo: Martin Kennedy.
In her studio in Dalston, east London, Pam Evelyn talks about the push and pull of making one of her large-scale abstract paintings and learning to live with its contradictions and tensions.
Pink Woman in Pink Landscape, Image generated by AI, 2023.
A corporate and trademarked invention, Barbie Pink is still marketed as the colour of perpetual happiness. Tracing the multiple iterations of pink through art history, however, reveals more complex meanings.
Samuel Gallacher, Keeper of the Burrell Collection, Art Fund Museum of the Year 2023. Photo:  © Janie Airey/Art Fund 2023.
Glasgow’s Burrell Collection has been named 2023 museum of the year, picking up the £120,000 award that goes with it. The Keeper of the collection talks about what it means to win the world’s largest museum prize and his plans for the future.
Sekai Machache, Light Divine Sky II. Photographic print on aluminium, 2021. Image copyright the artist.
With themes including Scottish identities, artistic communities and interior lives, this exhibition focuses on women across generations who have changed the face of the country’s art.
Rowan Mace: Time’s Light, installation view, Cample Line, 2023. Photo: Mike Bolam.
The calm and welcoming spaces at this Scottish gallery provide the perfect setting for Winstanley’s vibrant and joyous paintings and Mace’s painted wooden sculptures.
Isa Genzken: 75/75, exhibition view, Neue Nationalgalerie, 2023, featuring Nofretete (The Original,), 2012. Private collection, Rhineland. Photo: Nationalgalerie, Staatliche Museen zu Berlin / Kens Ziehe. Courtesy Galerie Buchholz © VG Bild-Kunst, Bonn 2023.
A retrospective celebrates the German sculptor whose wide-ranging work sharply critiques the modern world.
Serpentine Pavilion 2023, London, designed by Lina Ghotmeh. Photo: Veronica Simpson.
Ghotmeh’s sociable pavilion, inspired by trees and sitting down to break bread together, invites us to congregate. But while it is sympathetic to its parkland setting, a reduced hospitality offer hampers the feasting and gathering.
Crystal Bennes, installation view, Platform, Trinity Apse, Edinburgh Art Festival 2023. Photo: Sally Jubb.
Despite its relaxed, fun atmosphere, this year’s festival tackles serious issues. It is about hope, humanity and learning to live together better.
Ferdinand Hart Nibbrig. On the Dunes in Zandvoort, 1891-92. Oil on canvas, Singer Laren, Schenkung P. J. Hart Nibbrig 1981.
This master class in Dutch art history demonstrates the strength of the artistic impulses that came from France, while highlighting how important landscape remained for Dutch artists.
Kara Chin, Concerned Dogs, installation view, Goldsmiths CCA, 2023. Photo: Rob Harris.
In a space that appears a cross between a cinema and a place of worship, a warped soundscape, a raucous video and doggy dioramas immerse us in Chin’s fictional and unsettling world.
Grayson Perry: Smash Hits, installation view. Photo: Nick Mailer Photography.
Perry mocks and self-flagellates his Englishness and class, his childhood memories and coping mechanisms, and reveals the endless awkwardness and angst of being at odds with one’s home and subject matter, with no obvious escape.
Gabriel Chaile, photo Andrea Rossetti (left) and Laura Ojeda Bär, photo Matias Ercole.
Gabriel Chaile’s first institutional solo show in the UK sees him covering an old chapel in adobe mud and inviting his friend, Laura Ojeda-Bar, to contribute her own characterful paintings, creating a multisensory environment of intimacy and welcome.
David Remfry RA talking to Studio International at the Royal Academy Summer Exhibition 2023. Photo: Martin Kennedy.
At 80 years old, David Remfry was just coming to terms with the opportunity to co-ordinate the Royal Academy Summer Exhibition having passed him by. Then he got a phone call from the President ….
Eileen Cooper RA.
As an exhibition of her previously unseen early works on paper opens at Huxley-Parlour in London, Cooper talks about the importance of drawing, the women’s movement, and the relevance of these particular intimate images to the development of her style – and about looking back as she turns 70.
Thomas J Price. Lay It Down (On The Edge Of Beauty), 2018. Bronze, automotive spray paint, 61 x 35 x 40 cm (24 x 13 3/4 x 15 3/4 in). Photo: Ken Adlard. © Thomas J Price. Courtesy the artist and Hauser & Wirth.
His sculptures, fusions of ordinary people, overturn tradition in their material and scale, challenging our preconceptions and prejudices about Black people in visual culture.
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