search
Published  21/01/2013
Share:  

Special issue 2004, Volume 203 Number 1026

Studio International Yearbook 2004

Special issue 2004, Volume 203 Number 1026.

Publisher: The Studio Trust
Content: 174 pages, full colour
Language: English
ISBN: 0962514144 (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

Full contents list >>


Introduction

For this Special Issue, the selection I have chosen from our website www.studiointernational.com demonstrates our intention to commission articles from a growing team of art critics and art historians. In this Yearbook, the subject matter of reviews was focused predominantly on painting as a medium, whether contemporary or historic exhibitions were reviewed. Nonetheless, one-quarter of the articles in this volume cover architecture and industrial design, and there are others on sculpture and photography. Particularly interesting here is Dr Clive Ashwin’s review of the Victoria and Albert Museum’s unforgettable 19th-century designer Christopher Dresser. Ashwin has had a long-standing connection with Studio International, from as far back as the 1970s.

The burgeoning activity in the arts in Asia has led to much increased coverage in our e-journal. I have been very pleased with our coverage of this exciting and ground-breaking movement in contemporary art. China and Japan have led the way, but India is now making inroads. We have a dedicated Asian team, which will be further expanded in the near future.

What is most obvious, during the last few years, has been the continuing legacy of 20th-century American art in painting, and we have printed articles here on the great African American painter Romare Bearden, as well as Childe Hassam, Jasper Johns, Edward Hopper and Philip Guston. We also include the works of Bruce Nauman and Don Judd, and the permanently fascinating and enthralling Constantin Brancusi. Our selection of art historical exhibitions includes the successful presentations of the work of Raphael, of Degas and of Vuillard, all currently subject to reappraisal in terms of their importance and influence. The Raphael exhibition at the National Gallery in London in 2004, however, missed any reference to Raphael’s outstanding contribution to late Renaissance architecture, which was unfortunate. The public remains largely uninformed about this additional talent of a great painter.

Architecture itself has become the stalking ground of a new, acquisitive generation of well-informed and well-budgeted clients and curators, and this dynamic has led to some truly innovative new buildings the world over. We chose for this Yearbook our review of new work by Frank Gehry, and the technologically highly innovative ‘Gherkin’ tower by Norman Foster in the City of London. Looking back at the troubled decade of the 1930s in England, we include coverage of the timely restoration of the Wells Coates’s Lawn Road Flats in Hampstead, London. One is reminded again of the continuing ability of British artists and architects to innovate and to surprise their clientele.

We wish our readers of the Yearbook and the website an inspiring and fulfilling New Year. The future promises a rapid and scintillating sequence of new exhibitions worldwide, and on the website we are now able to provide rapid coverage and reviews of those international exhibitions we consider merit full coverage, as well as re-evaluation and comment

Michael Spens
Editor

Back to the top


 

Contents

  • Karel Nel: Status of Dust
  • Bruce Nauman: Raw Materials
  • Bill Brandt: A Centenary Retrospective
    Bill Brandt: Nudes
  • Frank Gehry: Maggie’s Centre, Dundee
  • The Las Vegas Guggenheim Museum
  • An Abandoned New York City School Enlivens the Contemporary Art World
  • The Architecture of the British Library at St Pancras
  • Art in the Making: Degas
  • Raphael: From Urbino to Rome
  • The Art Olympics: The Eighth Shanghai Art Fair
  • Interview with David Elliott Director of Mori Art Museum, Tokyo
  • The Art of Philip Guston: 1913–1980
  • Donald Judd
  • Awesome Archigram
  • Constantin Brancusi: The Essence of Things
  • Swiss Re: A Lovable Gherkin in Space
  • Jellicoe to Jencks: New Landscapes, New Allegories
  • Lawn Road Flats
  • The Enigma of Édouard Vuillard
  • Mark Rowan-Hull: Seeing Music, Hearing Colour
  • When Words are Worth More than Pictures
  • Edward Hopper
  • Royal Academy Summer Exhibition 2004
  • Russian Landscape in the Age of Tolstoy
  • Yoshitomo Nara: From the Depth of my Drawer
  • Past Things and Present: Jasper Johns since 1983
  • The First Architectural Biennale Beijing 2004
  • The Art of Romare Bearden
  • Christopher Dresser 1834–1904: A Design Revolution
  • The National Museum of the American Indian
  • Childe Hassam (1859–1935)
  • Ken Done: Paintings

Click on the pictures below to enlarge

Leaving Were the Ones Who Could Not Stay

From Scottish herring girls to the Gaza genocide, this exhibition is about belonging and identity...

John Walker – interview: ‘I wept uncontrollably in front of Goya’s B...

Following the publication earlier this year of a Thames & Hudson monograph on his art, John Walker t...

Cezanne at Jas de Bouffan

Tracking the artist’s development from local student to ‘father of modern art’, 135 works made...

Irma Stern. A Modern Artist between Berlin and Cape Town

This retrospective brings German South African artist Irma Stern back into view, while tracing her p...

Elaine Shemilt – interview: ‘I am certain that physiological processes...

An artist and researcher, Elaine Shemilt is known for her pioneering work in feminist video in the 1...

London’s Statues of Women – book review

This exhaustive yet compact guide to London’s statues of women presents a motley crew, not just of...

Berlinde de Bruyckere – interview: ‘My themes are not easy. You can’...

Belgian artist Berlinde de Bruyckere talks about the issues, artists and musicians that inspire her,...

The Honest Eye: Camille Pissarro’s Impressionism

This grand tribute to Pissarro evokes the bliss of a walk in nature and is an illuminating look at t...

William Kentridge: The Pull of Gravity

The first UK institutional show dedicated to William Kentridge’s sculpture is joyfully approachabl...

Edinburgh Art Festival 2025

Guy Oliver’s laugh-out-loud film about being a teenager, Aqsa Arifa’s exploration of life as a r...

Making Waves – Breaking Ground

With 11 artists and more than 100 works, the wonders of the natural world are stunningly brought to ...

Lifeblood – Edvard Munch

A thoughtfully curated exploration of the convergence of art and health in the work of Munch, a man ...

Pablo Picasso: The Code of Painting

This show draws international attention to a vibrant new art space in the Norwegian city of Trondhei...

Ro Robertson – interview: ‘The female shipbuilders of Sunderland have ...

At Sunderland’s Northern Gallery for Contemporary Art, which stands beside the River Wear, is a ne...

Border Crossings: Ten Scottish Masters of Modern Art

This show pays homage to the remarkable legacy of 10 artists who left their Scottish homeland to ach...

Niki de Saint Phalle & Jean Tinguely: Myths and Machines

She was an aristocrat sculpting voluptuous female figures, he a working-class maker of scrap metal k...

Natalia Millman – interview: ‘I want to talk about grief in an approac...

Inviting others to write a letter about their grief, and responding to each with a drawing, was the ...

Millet: Life on the Land

A fine-tuned pocket survey celebrates the influential French realist painter, who imbued scenes of r...

Ernest Edmonds – interview: ‘The technology didn’t make it easy at t...

On the occasion of Networked, his show at Gazelli Art House, London, the pioneering computer artist ...

For Children: Art Stories since 1968

A skating ramp, an invitation to paint the floor, a glowing tent-like structure – this ambitious j...

Ten Sculptures by Tim Scott 1961-71– book review

A thorough introduction to and overview of a fascinating artist who has been far too overlooked. The...

Folkestone Triennial 2025: How Lies the Land?

Sorcha Carey’s first outing as curator of the Folkestone Triennial turns its sixth iteration into ...

Pat Steir: Song

New paintings by American artist, Pat Steir, now 87, make their debut in this exhibition in Zurich...

Lubaina Himid with Magda Stawarska: Another Chance Encounter

Drawing on correspondence between the writer Sophie Brzeska and the artist Nina Hamnett as well as H...

Seulgi Lee: Span

Collaborating with craftspeople from around the world, Seulgi Lee incorporates traditional technique...

Mika Rottenberg – interview: ‘I’m not an angel or a political activi...

The multidisciplinary artist Mika Rottenberg talks about her first solo exhibition in Spain, at Haus...

Berlin. Cosmopolitan: The Vanished World of Felicie and Carl Bernstein

This small but insightful show puts the spotlight on a microcosm within Berlin’s art world at the ...

Emma Talbot – interview: ‘I imagine the experience of life as an epic...

Large installations, paintings on silk, fabric sculptures and drawings convey the connection between...

It Takes a Village

To mark its 40th birthday, Ditchling Museum of Art + Craft is hosting an exhibition all about reachi...

Mike Nelson: Humpty Dumpty, a transient history of Mardin earthworks low r...

From the architecture of an old hilltop city in Turkey to the demolished Heygate Estate in south Lon...

studio international logo

Copyright © 1893–2025 Studio International Foundation.

The title Studio International is the property of the Studio International Foundation and, together with the content, are bound by copyright. All rights reserved.

twitter facebook instagram

Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA