logo studio international
Spong explores the invented language of Hildegard von Bingen, a 12th-century mystic. Over the Pump House Gallery’s four storeys, boundaries of sense are undone and remade – drawing the viewer into a history that cuts through the present
Bharti Kher. The skin speaks a language not its own, 2006. Bindis on fibreglass, 300 x 173 x 116 cm. Courtesy the artist. Photograph: Pablo Bartholomew.
Kher talks about the difficulty of being identified as an ‘Indian’ artist, being a procrastinator, and making material things do things they don’t want to.
Peter Doig, Red Man (Sings Calypso), 2017. Oil on linen, 295 x 195 cm. Courtesy Michael Werner Gallery New York and London.
The Scottish painter’s latest works are as beautiful as ever, but exhibit a newfound looseness, playfulness and sense of violence.
Latif Al Ani. US couple in Ctesiphon, 1965. B+W digital print on Hahnemühle Baryta Fine Art paper, 25 x 25 cm. © The artist and the Arab Image Foundation, Courtesy the Ruya Foundation.
The Iraqi photographer considers his photographic preservation of a long-vanished Iraq, his preoccupation with beauty, and the desire to share his country’s pain with viewers.
Louvre Abu Dhabi, Exterior view © Louvre Abu Dhabi. Photograph: Roland Halbe.
Jean Nouvel has conceived a masterful new structure for the Louvre Abu Dhabi, at once utterly modern in its technical and environmental specifications, but beautifully attuned to the ancient Arabic sense of place, and affinities with geometry and astronomy.
Revolutsiia! Demonstratsiia!, 2017. Courtesy of the Art Institute of Chicago.
Revoliutsiia! Demonstratsiia! joins an effort by progressive cultural institutions to mark the centenary of the October Revolution, an event that shook the world.
Rose Wylie, Jack Goes Swimming (Jack), 2013 (detail). Oil on canvas, 207 x 168 cm. Courtesy of Private Collection.
The octogenarian painter’s enormous, unpredictable canvases are by turns joyful and fearsome, introvert and extrovert, ordered and chaotic.
Carolee Schneemann. Meat Joy, 1964. Chromogenic colour print of the performance in New York, 5 x 4 in (12.7 x 10.2 cm). © 2017 Carolee Schneemann. Courtesy the artist, P.P.O.W, and Galerie Lelong, New York. Photograph: Al Giese.
This is a rich and expansive retrospective of Schneemann’s work over the past six decades.
Jeanne Mammen. Self-Portrait, c1926. Watercolour on paper, 32 x 22.8 cm. Jeanne-Mammen-Foundation, © VG Bild-Kunst, Bonn 2017, Repro: © Mathias Schormann.
Mammen wanted to be “a pair of eyes, walking through the world unseen, only to be able to see others”. This retrospective, although stretching beyond the best period of her observational work in the Berlin of the 20s, offers visitors a chance to see through her eyes.
Modigliani in his studio, photograph by Paul Guillaume, c1915. © RMN-Grand Palais (musée de l’Orangerie) I Archives Alain Bouret, image Dominique Couto.
This extraordinary retrospective unites Modigliani’s portraits and sculpture with the largest collection of his nude paintings ever shown together in the UK, as well as allowing visitors a virtual reality tour of the artist’s Paris studio.
Carmen Herrera. Pavanne, 1967/2017. 274.3 x 274.3 x 182.9 cm (108 x 108 x 72 in). © Carmen Herrera; Courtesy Lisson Gallery.
Herrera’s abstract, geometric paintings pulse with life in this solo show. She was discovered late – she sold her first painting in 2004, at the age of 89 – and her work has a concentrated intensity that speaks of many decades of quiet, unsung dedication.
Peter Hill at the opening of Geelong Art Prize 2016, with his painting Text Painting No 1, 2016, 100 x 100cm.
The artist talks about his creation of a fictional museum, his current lecture tour, Fake News + Superfictions, and the artists who have influenced him.
Sofia Stevi. set for play, 2017. Ink, acrylic, gouache on cotton, 200 x 140 cm. Courtesy The Breeder, Athens.
Greek artist Sofia Stevi’s paintings ooze confidence, sensuality and an improvisational spontaneity. Yet her flair and inventiveness with a paintbrush are something of a recent discovery – to Stevi as well as to the rest of us.
Ania Dabrowski talking to Studio International about her installation A Lebanese Archive at the opening of the group show From Ear to Ear to Eye at Nottingham Contemporary, 15 December 2017. Photograph: Martin Kennedy.
Ania Dabrowska (b1973) is a Polish-born artist now living in London. She works with photography, moving image, installation, text and sound, and has a particular interest in the political and creative potency of archives within contemporary culture. She has had solo and group shows in the UK, Germany, the US, India and the Middle East, and has participated in several residencies.
Creativity and Collaboration: Revisiting Cybernetic Serendipity. Arthur M. Sackler Colloquia of the National Academy of Sciences, Washington DC.
The Studio International special issue Cybernetic Serendipity: The Computer and the Arts was first published in July 1968 to accompany the ICA exhibition of the same name curated by Jasia Reichardt. Both the publication and the exhibition are now legendary.
Köken Ergun. Photograph: A Donnikov © Garage Museum of Contemporary Art, Moscow.
The Turkish film-maker talks about his 2005 video I, Soldier, and its relevance to the political situation in his country today.
Kehinde Wiley and Yinke Shonibare. Installation view. Photograph: Jill Spalding.
It was all systems go – quality art, media buzz, more space, more work – but with a lower attendance and many big collector names absent, America’s premier art fair had a last hurrah undertow.
John Stezaker. The Voyeur I (Photoroman), 1976. Collage, 5.94 x 3.7 in (15.1 x 9.4 cm). Courtesy of the artist and Petzel, New York.
The British artist discusses a series of 1970s collages that launched his career, and which have been brought together for an exhibition in New York.
Sam Gilliam. After Micro W #2, 1982. Acrylic on polyester, 114.3 x 172 x 22.9 cm. Private collection, Europe.
Art critic Clement Greenberg coined the term ‘post-painterly abstraction’ to describe the work of the five artists in this exhibition – Morris Louis, Ed Clark, Sam Gilliam, Frank Bowling and Kenneth Noland – yet, until recently, many of them haven’t received the recognition they deserve.
Nnenna Okore. Photograph: Jonathan Greet.
Okore’s sculptures are poetic odes to the natural world. But beneath the delicate beauty there lies a pervading tension. She talks about how life and death in the natural world informs her practice.
Louisa Fairclough. A Rose, 2017. 1 x 16mm film looped (colour, silent, 9 min) projected onto a suspended acrylic screen, 1 x performance for a field recording pressed onto dubplate vinyl (20 min). Installation view: A Song cycle for the Ruins of a Psychiatric Unit, Danielle Arnaud Gallery, 2017. Photograph: Oskar Proctor. Courtesy the artist and Danielle Arnaud.
At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruins of a Psychiatric Unit uses a derelict mental hospital as metaphor for the turmoil of psychological trauma.
studio international logo
Copyright © 1893–2018 Studio International Foundation.

The title Studio International is the property of the
Studio International Foundation and, together with
the content, are bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Cybernetic Serendipity
CyberArt Contact us
twitter facebook RSS feed instagram

Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA