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John Piper

A lopsided retrospective reveals an artist who thrived best when he was commissioned or working in collaboration

John Piper. Construction, 1934, reconstructed 1967. © The Piper Estate.
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.
Iggy Pop life class by Jeremy Deller. New York, February 21, 2016. Organised by the Brooklyn Museum: Photograph: Elena Olivo. © Brooklyn Museum.
This exhibition sets out to explore the significance of life drawing and the life class in art practice, but the real joy of drawing is largely overlooked.
Raed Yassin, Ruins in Space, 2014. Courtesy artist and Kalfayan Galleries, Athens – Thessalonki. Installation view, From Ear to Ear to Eye, Nottingham Contemporary, Dec 2017- Mar 2018. Photograph: Stuart Whipps.
This powerful show fuses art and music in an attempt to open ears and eyes to life in the Arab world.
The Tibetan Buddhist Shrine Room from the Alice S. Kandell Collection. Gifts and promised gifts from the Alice S. Kandell Collection to the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC. Photograph by Miguel Benavides
As 2017 Museum Gift of the Year, Studio International has chosen the Tibetan Buddhist Shrine, a magnificent donation by Dr Alice Kandell of more than 200 precious Buddhist artefacts to the Arthur M Sackler Gallery in Washington DC.
Ed Ruscha. The Music from the Balconies, 1984. Oil paint on canvas, 251.5 x 205.7 cm. Collection: Scottish National Gallery of Modern Art. Artist Rooms National Galleries of Scotland and Tate. Presented by the artist 2009. © Ed Ruscha.
Moving to Los Angeles at 19, having grown up in Oklahoma City, Ed Ruscha was always an outsider. His detached perspective is a quality that has remained in his work – which would become so concerned with the city – over the decades that followed.
Shirazeh Houshiary. Photograph: Dave Morgan. Courtesy Lisson Gallery.
Houshiary talks about evolution, Einstein and shamans, and how her work involves thinking in other dimensions.
The Bass, Miami Beach. View of the historic 1930s structure designed by Russell Pancoast. Image courtesy of The Bass, Miami Beach. Photograph © Robin Hill.
After more than two years and a $12m makeover by architects David Gauld with Arata Isozaki, the Miami Beach museum of art has opened its doors once again. It’s more spacious and welcoming and has some ambitious work on show.
Yayoi Kusama Museum, Bentencho, Shinjuku-ku. Exterior view, ground level. © Yayoi Kusama.
Japanese artist Yayoi Kusama, famous for her polka dots and pumpkins, opened her own museum in Tokyo in October, where she can permanently show her works and promote her message of world peace and love for humanity.
William Kentridge, Ursonate, 2017. St Thomas the Apostle Church, Harlem, New York. Courtesy of Performa. Photograph © Paula Court.
William Kentridge talks about his recent performance of Kurt Schwitters’ sound poem Ursonate, dadaists and interpreting the world.
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.
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