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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.


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

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

Jeremy Deller – interview: ‘I’m not looking for the next thing. I...

How did he go from asking a brass band to play acid house to filming former miners re-enacting a sem...

Encounters: Giacometti x Huma Bhabha

The first of three exhibitions to position historic sculptures by Alberto Giacometti with new works ...

Edward Burra

The Parisian scenes that Edward Burra is known for are joyful and sardonic, but his work depicting t...

The 36th Ljubljana Biennale of Graphic Arts: The Oracle

Surprising, thrilling, enchanting – under the artistic direction of Chus Martínez, the works in t...

It’s Terrible the Things I Have to Do to Be Me: On Femininity and Fame ...

In a series of essays about pairs of famous women, the cultural critic Philippa Snow explores the co...

Paul Thek: Seized by Joy. Paintings 1965-1988

A rare London show of elusive queer pioneer Paul Thek captures a quieter side of his unpredictable p...

Anonymous Was a Woman

This elegantly composed exhibition celebrates 25 years’ of awards to female artists by Anonymous W...

European Realities

The first of its kind, this vast show is a stunning tour of the realism movement of the 1920s and 30...

Maggi Hambling: ‘The sea is sort of inside me now … [and] it’s as if...

Maggi Hambling’s new and highly personal installation, Time, in memory of her longtime partner, To...

Caspar Heinemann: Sod All

Caspar Heinemann takes us on a deep, dark emotional dive with his nihilistic installation that refer...

Donald Locke: Resistant Forms

Complex, multilayered paintings and sculptures reek of the dark histories of slavery and colonialism...

Rachel Jones: Gated Canyons

Shown in the context of the historic paintings of Dulwich Picture Gallery, Rachel Jones’s new pain...

William Mackrell – interview: ‘I have an interest in dissecting the my...

William Mackrell's work has included lighting 1,000 candles and getting two horses to pull a car. No...

Marina Tabassum – interview: ‘Architecture is my life and my lifestyle...

The award-winning Bangladeshi architect behind this year’s Serpentine Pavilion on why she has shun...

A cabinet of curiosities – inside the new V&A East Storehouse

Diller Scofidio + Renfro has turned the 2012 Olympics broadcasting centre into a sparkling repositor...

Plásmata 3: We’ve met before, haven’t we?

This nocturnal exhibition organised by the Onassis Foundation’s cultural platform transforms a pub...

Ruth Asawa: Retrospective / Wayne Thiebaud: Art Comes from Art / Walt Disn...

Three well-attended museum exhibitions in San Francisco flag a subtle shift from the current drumbea...

Sargent and Paris

This dazzling exhibition on the centenary of John Singer Sargent’s death celebrates his versatile ...

Emma Critchley: Soundings

Through film, sound and dance, Emma Critchley’s continuing investigative project takes audiences o...

Rijksakademie Open Studios: Nora Aurrekoetxea, AYO and Eniwaye Oluwaseyi

At the Rijksakademie’s annual Open Studios event during Amsterdam Art Week, we spoke to three arti...

AYO – interview: Rijksakademie Open Studios

AYO reflects on her upbringing and ancestry in Uganda from her current position as a resident of the...

Eniwaye Oluwaseyi – interview: Rijksakademie Open Studios

Eniwaye Oluwaseyi paints figures, including himself, friends and members of his family, within compo...

Nora Aurrekoetxea – interview: Rijksakademie Open Studios

Nora Aurrekoetxea focuses on her home in Amsterdam, disorienting domestic architecture to ask us to ...

Kiki Smith – interview: ‘Artists are always trying to reveal themselve...

Known for her tapestries, body parts and folkloric motifs, Kiki Smith talks about meaning, process, ...

Frank Auerbach

Frank Auerbach, Britain’s greatest postwar painter, has a belated German homecoming, which capture...

How Painting Happens (and why it matters) – book review

Martin Gayford’s engrossing book is a goldmine of quotes, anecdotes and insights, from why Van Gog...

Jonathan Baldock – interview: ‘Weird is a word that’s often used to...

As a Noah’s ark of his non-binary stuffed toys goes on show at Jupiter Artland, Jonathan Baldock t...

Helen Chadwick: Life Pleasures

Helen Chadwick’s unwillingness to accept any binary division of the world allowed her to radically...

Catharsis: A Grief Drawn Out – book review

To what extent can the visual language of grief be translated? Janet McKenzie looks back over 20 yea...

Radical Software: Women, Art & Computing 1960-1991

With more than 100 works by 50 artists, this show examines the pioneering role of women in computer ...

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