Published  21/01/2013
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Special issue 2000-3, Volume 202 Number 1025

Studio International Yearbook 2000–3

Special issue 2000-3, Volume 202 Number 1025.

Publisher: The Studio Trust
Content: 194 pages, full colour
Language: English
ISBN: 096251411X (Hardcover)
Dimensions: 11.0 x 8.7 x 0.75 inches
Price: Hardcover: US $29.99, UK £24.99

Editor: Michael Spens
Deputy Editor: Dr Janet McKenzie
Creative Director: Martin Kennedy
Vice-President: Miguel Benavides

To order your copy please contact studio@mwrk.co.uk

This publication is a diverse collection of our most exciting exhibition reviews that appeared on the Studio International website from 2000 to 2003. There are detailed studies of a range of artists (from Auerbach to Avery and Riley to Rosenquist) in the fields of visual art and architecture, in addition to artist biographies and obituaries. This vibrantly illustrated volume is a must for anyone interested in art appreciation and the most recent developments in the art world, both in the UK and abroad.

Full contents list >>


Introduction

The Studio International web edition, showcased in 2000, was planned as an electronic publication only. In response to our ever-growing number of readers visiting the website, and to continue our great tradition that began in 1893 with The Studio, we are pleased to publish this Yearbook. We are represented across the globe, and in addition to our European and North American coverage, we have correspondents in China, Japan, Russia, Australia and Latin America.

In the current tumultuous world, where war and terrorism override other topics, to concentrate on art appreciation and analysis could seem esoteric and irrelevant. But recent surveys show that communities which encourage the arts thrive economically. A good example is in northern Spain, where Frank Gehry's Guggenheim Museum Bilbao, opened in 1997, is a tourist destination that began a revival of the area.

Some of the most exciting recent developments have been here in London. The British Museum has been transformed by Norman Foster's Great Court, opened by the Queen to celebrate the new millennium in 2000, which has infused new life into the grandest and most accessible of the world's major museums. Lord Foster's ability to blend classic and futuristic architecture had been demonstrated with his Sackler Wing addition to the Royal Academy, which won the RIBA Building of the Year award in 1992. The adaptation of a dilapidated power station to create Tate Modern has proved a success and enabled the original Tate to update and breathe. Another addition to the South Bank is the Saatchi Gallery, although the work of contemporary Young British Artists wrestles unhappily with the baroque interior of the County Hall building. One master curator to be noted is Neil MacGregor. As Director of the National Gallery, in June 2000 he mounted the superb 'Encounters' exhibition, which featured a rare collusion of the art of the past with contemporary work. Shortly thereafter he moved to the challenging Directorship of the British Museum, where the opening of the Enlightenment Gallery late in 2003 explored the essence of what the museum has always been about - recalling the great period of scholarship and the expansion of learning globally, which the 18th and 19th centuries had encouraged in Britain. For all our electronic wizardry today, we are hard put to match this expansion and its outreach into the new century.

The decision to publish a yearbook enables us to gather together this electronic range of articles from early 2000 to December 2003. We have given a high priority to the medium of painting - the great and historic formative medium which still dominates contemporary developments. The New York exhibition of the brilliant works of Gerhard Richter led us in London to wonder why he has never exhibited here before. The parochialism of the art world can still surprise, for all the speed of communication today.

In the early 1980s it took two to three months to publish an article. Today, the maximum lead time can be in the region of just hours. This particularly facilitates our international coverage and it transforms the language of critique in the visual arts. To be able to receive and post review material while an exhibition is still running is valuable.

We will next expand and diversify further. Architecture has become (at last) much more press-worthy. Already Studio International has given significant coverage to the new architecture in Europe and America. Our content will be augmented by the inclusion of photography, media art, installation art, land art and sculpture in a broader field.

In Studio International we stand for highest standards of art-historical scholarship in all fields. This situation will continue and since this Yearbook period we have increasingly engaged with new authors and with insightful critique.

We hope you enjoy this volume and that you will send feedback.

See you in cyberspace.

Michael Spens
Editor

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Contents

  • Encounters: New Art from Old
  • Eduardo Paolozzi: Writings and Interviews
  • Victor Willing 1928-1988
  • Milton Avery: Late Work, Landscapes and Seascapes 1951-1963
  • Frank Auerbach
  • Will Maclean: Driftworks
  • Letter from Moscow: The Blackest Square
  • Gerhard Richter: Forty Years of Painting
  • The Genius of Rome
  • Scythian Babas: A Painting Counter-revolution
  • Matisse Picasso
  • Howard Hodgkin: Large Paintings 1984-2002
  • Barnett Newman
  • Eva Hesse: When Attitudes become Form
  • Max Beckmann
  • Titian
  • The Museum of the Mind: Art and Memory in World Cultures
  • Bridget Riley
  • Medicine Man: The Forgotten Museum of Henry Wellcome
  • Winifred Nicholson in Scotland
  • Monet: The Seine and the Sea 1878-1883
  • Helen Frankenthaler: Paintings on Paper (1949-2002)
  • Face Up
  • James Rosenquist: A Retrospective
  • Bill Viola: The Passions
  • Eric Ravilious
  • Vital Configurations: The Paintings of Susan Rothenberg
  • Disney Gehry
  • Aztecs
  • Mori Art Museum, Tokyo
  • Worldly Wisdom: The Enlightenment Gallery
    Obituaries

Click on the pictures below to enlarge

Harold Offeh – interview: ‘I am always asking: who is not part of the ...

Harold Offeh discusses boredom, curiosity and 1980s pop culture, the influence of punk and hip-hop, ...

Peter Kennard – interview: ‘Montage is about allowing people to think ...

Peter Kennard, the celebrated political artist, talks of photomontage, protest, art schools and imag...

Lana Locke – interview: ‘I look more at the racial connotations of col...

Lana Locke talks about about domesticity in life and art, colonialism and climate change –and how ...

Shneel Malik – interview: ‘I’m a crazy optimist. I know that the rig...

Architect and bio-designer Shneel Malik discusses bio-algae, eco-aesthetics, artisans pioneering eco...

Jens Fänge – interview: ‘I try to come to a painting from a different...

As Jens Fänge exhibits new work in Paris, the Swedish painter talks about assemblage, the structure...

Vision & Reality: 100 Years of Contemporary Art in Wakefield

As the Hepworth Wakefield celebrates its 10th birthday, it is apposite that it is marking its place ...

Eleanor May Watson – interview: ‘Home is a sanctuary, but also a reall...

Eleanor May Watson talks about the weight of history, the evolving nature of her work and the comple...

Sadie Morgan – interview: ‘When you’re part of a community, architec...

Sadie Morgan, of Stirling Prize-winning architects De Rijke Marsh Morgan, discusses social and envir...

Crystal Fischetti – interview: ‘I use my whole body when I paint’

Crystal Fischetti talks about ‘coming out’ of the spiritual closet, and how she uses her whole b...

Grief and Grievance: Art and Mourning in America – book review

Preceding an exhibition at New York’s New Museum, this book, based on a vision of the late Okwui E...

Prabhakar Pachpute – interview: ‘I juxtapose memories and what is happ...

Artist Prabhakar Pachpute talks about growing up in a coal-mining region in India, and how its assoc...

Unearthed: Photography’s Roots

The first major exhibition of photography at the Dulwich Picture Gallery uses nature as a lens to ex...

Tako Taal and Adam Benmakhlouf – interview: ‘This slow-motion style of...

Tako Taal and Adam Benmakhlouf discuss their ideas behind the 2021 Artists’ Moving Image Festival ...

Nick Hornby – interview: ‘Liquefied photography is magical and mysteri...

British artist Nick Hornby talks about his shift from art history to personal histories, and combini...

The Gee’s Bend Quiltmakers

Quilts from three generations of African American makers in a remote Alabama community demonstrate g...

Sara Barker – interview: ‘I tackle sculpture from the position of pain...

Glasgow-based Sara Barker talks about how the pandemic has affected her practice and her exhibition,...

Michael Visocchi – interview

Scottish artist Michael Visocchi talks about his commission to create a sculpture for South Georgia,...

Luiz Zerbini – interview: ‘I treat a painting as an oracle’

Brazilian painter Luiz Zerbini discusses urbanity and nature, the power of geometry and the secret l...

Jordan Baseman on turning mastectomy tattoos into the subject of a cartoon...

Jordan Baseman’s films deal with everything from embalming to post cancer surgery tattoos, and see...

Moynihan Train Hall: splendour for the masses

Wrought of sheer will, the Moynihan Train Hall, a radiant new gateway to Manhattan, addresses past, ...

Christine and Jennifer Binnie – interview

Artist sisters Christine and Jennifer Binnie talk about their joint curation of an exhibition from t...

Sarah Wood – interview: ‘At the moment we all want to gather around st...

Sarah Wood, artist, filmmaker, talks about what lockdown has taught her and how making her latest fi...

Young Poland: The Polish Arts and Crafts Movement, 1890-1918 – book revi...

The range of work to emerge from the Young Poland movement is staggering and this well-researched, b...

Kandinsky | Guggenheim Bilbao

With 62 of Kandinsky’s paintings and works on paper, this exhibition charts the development of his...

Shaping the World: Sculpture from Prehistory to Now – book review

This is a fascinating account of conversations between Antony Gormley and the art critic Martin Gayf...

Genesis, a floating church, by Denizen Works

Elements of care and craftsmanship link Genesis, a floating faith space on a traditional narrowboat,...

Abigail DeVille: Light of Freedom

In the year that has seen the Black Lives Matter movement and the questioning of what public statues...

The Film London Jarman Award 2020

After a challenging year in view of the global pandemic, the prize named after the legendary film-ma...

Brian Dawn Chalkley: The Untold Depth of Savagery

Brian Dawn Chalkley’s alter ego, Dawn, has sketched a world of androgynous figures with guns in se...

Katharina Grosse – interview: ‘My eyes are my most important tools’

Katharina Grosse talks about the importance of layering, colour and bodily intelligence in her paint...

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