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David Shrigley talks about his large-scale installation Life Model II at Fabrica Gallery in Brighton, part of the Brighton Festival for which he is this year’s guest director
Mariele Neudecker. There is Always Something More Important, 2012.
Fibreglass, spray, plywood, 2-channel video, two 10.2 inches monitors, 207 x 65 x 440 cm. © Bruno Lopes.
Bristol based artist Mariele Neudecker talks about how Cern inspires her, why you shouldn’t call her a climate change artist and why flight recorders are like the human soul.
Cherry Pickles. Self-Portrait as William S Burroughs, 2014. Oil on canvas, 100 x 80 cm.
The title of the exhibition comes from a statement made in 2013 by Georg Baselitz, the German artist who sometimes hangs his large canvases upside down.
Philip K Smith III, Open Sky, Installation view, Palazzo Isimbardi, Milan. Photograph: Lance Gerber. Courtesy of the artist and Cos.
As he prepares to mount an illusionistic new installation in Milan, the American space and light artist talks time, technology and theatricality.
Wasp, installation view, Hannah Barry Gallery, London, 2018. Photograph: Damian Griffiths.
Taking its name from Andrea Arnold’s award-winning short film Wasp, this group exhibition of 10 female artists is a satisfyingly reflective experience.
Miguel Chevalier talking to Studio International in his Paris studio, February 2018. Photograph: Martin Kennedy.
Ahead of two simultaneous solo shows in London, pioneering computer artist Miguel Chevalier invited Studio International into his Paris studio to discuss his interest in making the real virtual and the virtual real.
Andrzej Wróblewski. (Self-Portrait in Red), undated. Watercolour and gouache on paper, 29.5 x 41.7 cm. Private Collection. © Andrzej Wróblewski Foundation.
The spectre of conflict haunts the powerfully enigmatic oeuvre of one of Poland’s pre-eminent postwar artists, at long last the subject of a solo exhibition in the UK.
Paul Brown. Gymnasts, 1997. Giclée print, 31.5 x 23.62 in. © the artist.
These radical works by Paul Brown highlight the wonders of computer programming in the realm of art-making.
Sofia Borges. Yellow Chalk, 2017. Pigmented inkjet print, 90 9/16 × 59 1/16 in (230 × 150 cm). The Museum of Modern Art, New York. Fund for the Twenty-First Century. © 2018 Sofia Borges.
Iteration 2018 of MoMA’s biennial sampling of what’s trending in photography rethinks both the meaning of what it is to be human and the essential nature of the medium itself.
Marino Marini. Fondazione Marini Marini.
At the home of his iconic equestrian sculpture, The Angel of the City, this retrospective of the Italian sculptor Marino Marini explores the breadth of his practice and range of his influences.
Lilah Fowler. nth nature, 2018. Installation view. Image courtesy of Lilah Fowler and Assembly Point.
The exhibition nth nature, a new body of work by Lilah Fowler, explores feelings of transience and dissociation in response to increasingly pervasive networks of global transport and communication.
Nancy Fouts. Foosball Madonna Table, 2016. Wood and oil paint, 71 x 90 x 48 cm. © Nancy Fouts, Courtesy of Flowers Gallery.
Nancy Fouts brings her trademark baroque theatricality, dada mischief and love of a good pun to Flowers Gallery in London with a decade’s worth of visual treats.
David Hockney. Tall Dutch Trees After Hobbema (Useful Knowledge), 2017. Acrylic on six canvases (two canvases: 36 x 36 in, four joined canvases: 24 x 48 in) overall installation dimensions 64 x 144 in (162.6 cm x 365.8 cm). Photograph courtesy Pace Gallery. © 2018 David Hockney.
Coming off Hockney’s stunning retrospective at the Metropolitan Museum of Art celebrating his 80th birthday, this new body of work proposes to resolve the artist’s lifetime pursuit of accurate perspective with a radical new way to authentically see.
José Parlá in residence at Landmarks, the public art programme of The University of Texas at Austin, 2017. Photograph: Rey Parlá.
For his most ambitious project to date, commissioned by the Landmarks public art programme at the University of Texas at Austin, Parlá transforms a 4,000-sq-foot site into a panoramic landscape evocative of Austin’s natural and urban environment.
E.E.Cummings. Sound, 1919. Oil on canvas, 89.2 x 88.9 cm. Metropolitan Museum of Art, New York. © The Estate of E.E.Cummings.
As the US charged headlong into the 20th century, as its cities grew skywards and consumerism began to bubble up like the champagne at Jay Gatsby’s parties, some of modernism’s biggest names stood back and took stock. And the world they depicted was a surprisingly silent one.
Interiority, 2018. Installation view,  Hunter/Whitfield, London.
The artist and set designer discusses casting her mother’s breasts for one of her nipple urns, breast milk for bodybuilders and the problematics of bodies and economies.
Rie Nakajima, Cyclic, installation view, Ikon, Birmingham, 21 March – 3 June 2018. Photograph: Martin Kennedy.
Japanese artist Rie Nakajima’s practice sees everyday objects turned into semi-autonomous mechanisms that come alive in the most inventive ways.
William Crozier. (Untitled) Landscape, 1958. Oil on board, 97 x 71.5 cm. Private collection courtesy Piano Nobile, London.
Working in the shadow of the second world war, the nuclear threat and the Irish Troubles, Crozier’s work confirms that life is merciless. Yet even at its most desolate, there is a vitality to it, a forceful wildness that shines through in his electric soup of colours.
Man in makeup wearing ring. Photograph from a photo booth, with highlights of colour. United States, c1920. © Sébastien Lifshitz Collection. Courtesy of Sébastien Lifshitz and The Photographers’ Gallery.
Based on found photographs collected by French film-maker Sébastien Lifshitz, this exhibition at the Photographers’ Gallery examines the historical notion of cross-dressing, but in concentrating on a binary way of thinking, it has missed a trick.
Michele Oka Doner talking to Studio International at the opening of Bringing the Fire, David Gill Gallery, London, 21 March 2018. Photograph: Martin Kennedy.
American artist and author Michele Oka Doner shares some of her explorations of nature and ritual from across her five decade-long practice.
Linder. She/She (detail), 1981, printed 2007. 14 photographs, black and white, silver bromide print, on paper, 70.7 x 61.2 cm. Tate. © Linder.
The great modernist writer serves as a presiding spirit in an inclusive, multifarious group show, displayed in the town that triggered her childhood imagination.
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