Published  21/01/2013

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

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.


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


  • 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

Click on the pictures below to enlarge

Cosmos and Chaos: Cyfest-13

This exhibition brings together documentary and artistic material exploring the history of ideas of ...

Shahzia Sikander – interview: ‘I usually create a painting as a poem’

Shahzia Sikander talks about the problems surrounding the telling of any history, and how collaborat...

Anselm Kiefer: Pour Paul Celan

Here, in four installations and 19 vast canvases, Anselm Kiefer creates a dialogue with the work of ...

Cristina Iglesias – video interview: ‘I always felt I wanted to create...

Cristina Iglesias discusses her fascination with geology and botany, how public sculpture assists in...

Life Between Islands: Caribbean-British Art 1950s – Now

Featuring 46 artists, this long-overdue examination of the complex interrelationship between the Car...

Elizabeth Murray

Expansive, exuberant and looking as fresh as if they had just been made, the five works on show here...

Bárbara Wagner & Benjamin de Burca: Swinguerra

Fact and fiction overlap in this documentary-style film, as mainly black and LGBT characters use dan...

Khvay Samnang: Calling for Rain – Amartey Golding: Bring Me to Heal

Khvay Samnang uses Cambodian dancers to conjure stories of environmental disaster and recovery, and ...

Henri Chopin: The (Almost) Complete Books, Zines and Multiples (1957-2007)

Next year marks the centenary of the poet Henri Chopin’s birth and this show, which includes more ...

Anna Ray: Fibre and Form

This joyous explosion of colour, pattern and entangled loops of fabric leaps off the white walls of ...

Howardena Pindell: A New Language

Howardena Pindell is unafraid to tackle police violence or slave massacres in her videos and paintin...

Ray Harryhausen: Titan of Cinema

From the skeleton army in Jason and the Argonauts to the Kraken in Clash of the Titans, the monsters...

John Nash: The Landscape of Love and Solace

Remembered for the moving scenes of the first world war John Nash painted as an official war artist ...

Coral Woodbury – interview: “The work I’m doing is approaching death...

Coral Woodbury talks about her solo show at HackelBury Fine Art and what led her to use old books to...

Karlo Kacharava: People and Places

The referential, finely wrought paintings and drawings of the rediscovered Georgian artist Karlo Kac...

The World According to Colour: A Cultural History – book review

Oddly, a squashed fly triggered art historian James Fox’s fascination with colour and, in this amb...

Sarah Morris: Means of Escape

Through paintings, film and drawings, Sarah Morris explores time and space, and her fascination with...

Danny Fox: Brown Willy

Inspired by St Ives painters such as Ben Nicholson and Alfred Wallis, Danny Fox paints his home town...

Lubaina Himid

This is Turner-prize winner Lubaina Himid’s largest solo show to date and it does not disappoint...

Tunji Adeniyi-Jones – interview: ‘I want to show composure and a confi...

Tunji Adeniyi-Jones talks about his new paintings in That Which Binds Us, his first solo show at Whi...

Joy Labinjo – interview: ‘When people speak of multicultural London, i...

For her first public commission at Brixton underground station, Joy Labinjo reflects on the importan...

Dürer’s Journeys: Travels of a Renaissance Artist

Albrecht Dürer was a great traveller, visiting the Alps, Italy and the Low Countries. This exhibiti...

The Courtauld Institute refurbishment – review: ‘A bit of an epiphany...

After a three-year, £57m restoration and refurbishment by the Stirling-Prize winning architects Wit...

Tapestry: Changing Concepts

If you still think of tapestry as a traditional craft, the range of subjects and techniques in the w...

Hervé Télémaque: A Hopscotch of the Mind

Colonialism, racism and politics dominate the works in Hervé Télémaque’s intriguing, though oft...

Reflections: The Light and Life of John Henry Lorimer (1856-1936)

John Henry Lorimer’s quiet craftsmanship and extraordinary handling of light shine through in this...

Suzanne Valadon: Model, Painter, Rebel

Born into poverty, this extraordinary and spirited woman rose to become a critically acclaimed paint...

Christiane Baumgartner – interview: ‘A good piece of work should not b...

Christiane Baumgartner talks about being brought up in East Germany before the fall of the Berlin Wa...

John Abell – interview: ‘I see my work as a type of devotional art’

John Abell talks about Welsh mythology, poets and nationalism, moving between linocut and painting, ...

Nika Neelova – interview: ‘Everything in the world around us is consta...

Nika Neelova talks about how her multilingual upbringing may have shaped her thoughts and her work, ...

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