Among others, it featured the work of the illustrator Aubrey Beardsley – who even designed an elegant cover – and the architects Charles Rennie Mackintosh and CFA Voysey. It was one of the first art magazines to adopt photomechanical reproduction, a process that would dominate art publishing for a century.
In the years after World War I, The Studio slowly espoused Impressionism, Futurism and Cubism, as it followed a middle-of-the-road path to maintain its high circulation. Then, early in World War II, its offices in London’s Leicester Square were bombed. Aficionados claimed that the Luftwaffe deliberately targeted Studio because of its cultural importance. While this claim was rather implausible, it is true that significant back stock and numerous old files and records were lost. These could have given historians today a clearer idea about the past circulation and distribution of the journal at home and overseas.
In the post-war years, the then Editor, GS Whittet, worked hard to regain subscribers. The magazine was redesigned by David Pelham (well-known for his work for Penguin Books), and its title was changed to Studio International (incorporating The Studio) to reflect its increasing overseas influence. In 1968 Peter Townsend was appointed Editor, and Charles Harrison joined him as Assistant Editor. The publication won the vital overseas support of the British Council, and also of the Arts Council of Great Britain.
When Richard Cork, art historian and art critic for The London Evening Standard, took over from Townsend in the mid-1970s, he transformed Studio International into a much-respected and truly contemporary art journal. Michael Spens, an award-winning architect, had served on the Arts Council of Great Britain for Scotland from 1978 before becoming Editor in 1980.
In 2000 Studio International was one of the first art magazines to embrace the internet – the online journal now enjoys a worldwide readership with more than 200,000 readers a month and over 4.5 million page views a year. Once again, as it did in the 1890s, by harnessing contemporary technology before most of its rivals, Studio (International) continues its role as one of the world’s leading art journals.
Incorporating The Studio founded in 1893
Publisher: the Studio International Foundation, PO Box 1545, New York, NY 10021-0043, USA
Vice-President and Editor: Miguel Benavides
Creative Director and Filmmaker: Martin Kennedy
Published by the Studio International Foundation. No part of the contents of this publication may be reproduced without written permission from the publisher. Copyright the Studio International Foundation. The titles Studio International, The Studio, Studio and Studio Books are registered trademarks and, together with the content, are bound by copyright. All rights reserved.
Robert Rauschenberg: Combines
It was only a matter of time before the work of Robert Rauschenberg would again receive a star billing in Paris, and there could be no better venue than the Centre Pompidou. The reason is that the work literally benefits from the implied temporariness of the 'rooms' at the Centre.
Papunya painting: out of the desert
Art is a central force in Aboriginal culture and a critical political tool. Through an understanding of the art it has been possible to make a case for Aboriginal rights. The Sydney Olympics in 2000 were used both to expose the dreadfully inhuman conditions under which many Australian Aborigines still lived, and also to incorporate Aboriginal art and ritual into contemporary culture. Thousands of Aborigines took part in the superb theatrical ceremony; a great part of which was inspired and dedicated to the history of Australia before the arrival of white European settlers.
Art, Consciousness and Other Intractable Problems
'Neuroscience is emerging as one of the grand belief systems informing the imagination of artists and writers in the twenty-first century',1 writes the neuropsychologist and author Paul Broks in the catalogue that accompanies this exhibition. It is certainly a rapidly evolving field, and undoubtedly the coming advances in our understanding of the brain will pose radical questions about our notions of selfhood and responsibility, even more than the emergence of psychoanalytic theories did at the start of the 20th century.
Book review: Sir John Vanbrugh: Storyteller in Stone
A new biographical study of the architect Sir John Vanbrugh (1664-1726) is most timely. The historical importance of this remarkable polymath has been in need of revision for four decades or more. Vanbrugh was positioned in different ways by Sir John Summerson, for example, or by Sir Niklaus Pevsner. On one hand, due recognition was paid to him for the designs of Castle Howard, and for Blenheim Palace, especially. But in the past two decades, the relationship of such buildings to their total landscape has been reconsidered, as has the work by Vanbrugh's collaborators, such as Nicholas Hawksmoor, and even successors, such as Capability Brown.