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Kate V Robertson: This Mess Is Kept Afloat (left); Andrew Lacon: Fragments (right). Photographs: Ruth Clark.
Two exhibitions at Dundee Contemporary Arts confront and explore the relationships between the viewer, the art itself and the gallery space, in playful and thought-provoking ways
Camille Claudel. Torse de Clotho (Torso of Clotho), c1893. Plaster, 44.5 × 25 × 14 cm. © RMN-Grand Palais (Musée d'Orsay). Photograph: Martin Kennedy.
Her legacy has often been dwarfed by her biography – as Rodin’s student and lover, who spent 30 years in a psychiatric institution. But with a new museum in her name, and 11 of her works saved for the French nation, Camille Claudel is coming out of the shadows.
Encountering the Buddha: Art and Practice Across Asia. Gallery view, Arthur M. Sackler Gallery at the Smithsonian Institution, Washington DC. Image courtesy of Freer | Sackler staff.
The curator talks about Encountering the Buddha: Art and Practice Across Asia, the current exhibition at the Arthur M Sackler Gallery at the Smithsonian Institution, which took three years to organise and brought together more than 200 objects spanning two millennia.
Simon Roberts. Battle of Britain Memorial Flight, Shoreham Air Show, West Sussex, 15 September 2007. Fujicolour crystal archive print. © the artist.
From the diamond jubilee to the ruins of Grenfell Tower, Simon Roberts captures the events that have defined the British experience of the past decade.
Stanley Cursiter. The Sensation of Crossing the Street – West End, Edinburgh, 1913. Oil on canvas, 51 x 61 cm. Private collection, courtesy Susannah Pollen Ltd. © Estate of Stanley Cursiter. All Rights Reserved, DACS 2017.
At a time when the UK’s relationship with the rest of Europe is at stake, this exhibition of the artistic dialogue between Scotland and the continent is illuminating and inspiring.
Marcus Coates. Apple Service Provider, 2017. Photograph: Andy Gott. © Marcus Coates.
With an extraordinary diversity of work, from medieval Korean ceramics to cutting-edge conceptual art to Women’s Institute tea towels, this show aims to dispel the myth of the rural as a picturesque backwater, and assert its right as a vital a place for cultural production.
Matthew Ritchie. The Temptation of the Diagram (detail), 2017. Courtesy the artist.
The inaugural exhibition at the Camberwell College of Arts’ new space is a sensitive, nuanced look at eight decades of a core artistic form.
Tabita Rezaire. Inner Fire: Inner Fire Bow Down, 2017. Disc print, 170 x 100 cm. © the artist.
Tabita Rezaire talks about ‘decolonial healing’, her response to cyber-racism and the distorted representation of black people on the internet, communication technologies from the spiritual world, and empowering artists to have self-respect.
John Michael Wright, Charles II, c1676. Oil on canvas, 281.9 x 239.2 cm. Royal Collection Trust © Her Majesty Queen Elizabeth II.
The Royal Collection’s exploration of the Merrie Monarch is a historical exhibition par excellence, presenting the king as a gateway to the art, culture and advances of the Restoration.
John Piper. Construction, 1934, reconstructed 1967. Oil paint, zinc, wood, glass and dowelling on canvas on plywood, 100.6 x 115.9 cm. Tate. Purchased 1968. © The Piper Estate.
A lopsided retrospective reveals an artist who thrived best when he was commissioned or working in collaboration.
Peter Hill at the opening of Geelong Art Prize 2016, with his painting In Advance of the Concept Painting, 2016, a tribute to Duchamp’s In Advance of the Broken Arm. 100 x 100 cm.
The artist talks about his creation of a fictional museum, his current lecture tour, Fake News + Superfictions, and the artists who have influenced him.
Michael Armitage. Conjestina, 2017. © Michael Armitage. Photograph © White Cube (Ben Westoby). Courtesy of the Artist and White Cube.
The artist weaves multiple narratives to evoke the complexity of East African society. Here, he talks about his exhibition The Chapel, at the South London Gallery, and how it gave him the chance to think about religion, spirituality and politics in a new way.
Andreas Gursky. Kodak, 1995. Inkjet-Print, 91.7 x 107.5 x 4.2 cm. © Andreas Gursky/DACS, 2017. Courtesy: Sprüth Magers.
This first major UK retrospective of German photographer Andreas Gursky, at the newly renovated Hayward Gallery, is a must-see visual feast of epic proportions.
Jason Brooks talking to Studio International at his Gloucestershire studio, January 2018. Photograph: Martin Kennedy.
Ahead of his exhibition at Marlborough, London, Jason Brooks showed Studio International around his Gloucestershire studio, revealing some of his inspirations and motivations.
Marguerite Humeau, Echoes, 2018. Installation view. Photograph: © Tate, Joe Humphrys.
French-born artist Marguerite Humeau resurrects an eerie voice from the ancient past at Tate Britain. And she adds in some exotic fluids for good measure.
Miguel Chevalier. Origin of the World Bubble 2018. Installation view, Oxford Circus, Lumiere London 2018. Photograph: Martin Kennedy.
Featuring works by 50 artists and digital / lighting studios and producers, this feast of light and sound turned London into a spectacular, highly photogenic, pulsing theme park. But in its efforts to maximise entertainment, it fell short on actual artistry.
Giovanni Anselmo. Invisible, 1971. Slide (projector); dimensions variable. Holenia Purchase Fund, in memory of Joseph H. Hirshhorn, 2003. Courtesy Hirshhorn Museum and Sculpture Garden. Photograph: Lee Stalsworth.
This exhibition brings together more than 70 works from the Hirshhorn’s collection in an attempt to explore how artists attempt to show what absence looks like.
Philip Pearlstein. Model with Speedboat and Kiddie Car Harness Racer, 2010. Oil on canvas, 72 x 48 in (182.88 x 121.92 cm). © the artist.
Philip Pearlstein’s nudes are a triumph of draughtsmanship and the product of a lifetime of learning and graft. And although he strives for images devoid of stories, this skill betrays a more enigmatic world.
Madrid collective Boa Mistura, best known for brightly coloured giant murals that billboard entire buildings in painted images and text.
This biennale is determined to take account of residents, focusing on micro-housing and smaller residential complexes and involving community as much as architecture.
Sriwhana Spong, a hook but no fish, 2017.  16mm transferred to HD and HD video, 24'50. Courtesy the artist, Michael Lett, Pump House Gallery.
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.
Glenn Ligon. One Black Day, 2012. Neon, 5 x 24½ in (12.7 x 62.2 cm). © Glenn Ligon; Courtesy of the artist, Luhring Augustine, New York, Regen Projects, Los Angeles, and Thomas Dane Gallery, London.
A museum committed to the art of the American South presents an exhibition that highlights the contributions of postwar and contemporary African-American artists in order to assert their place within mainstream modernist narratives.
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