Published  21/01/2013
Share:  

Special issue 2005, Volume 204 Number 1027

Studio International Yearbook 2005

Special issue 2005, Volume 204 Number 1027.

Publisher: The Studio Trust
Content: 304 pages, full colour
Language: English
ISBN: 0962514152 (Hardcover).
Dimensions: 11.0 x 8.7 x 1.0 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

Memories made

As the 5th century BC Greek philosopher Heraclitus said, ‘Everything flows and nothing stays’. Or put another way, one might add, ‘All years are the same, but each is different’. Viewed from the Studio International Editor’s chair, this year it was Asia that produced many surprises, as our contributors have made clear, from ‘Archilab’ (page 16) to ‘Chinese Cities’ (page 134) to Japan’s Chichu Art Museum (page 260), a subterranean location for showing five artists, including James Turrell, to advantage. Then the amazing range of Chinese work exhibited at the Mori Gallery, Tokyo (page 282) demonstrated the growing momentum of cross-fertilisation of ideas within Asia. By contrast, in ‘Yongle’ at New York’s Metropolitan Museum of Art (page 110) came a reminder of the historic originality of medieval Chinese art. ‘The Elegance of Silence’ (page 66) explored the resilience of East Asian contemporary art and found that the sense of tradition which as much bedevils Western art as inspires it also recharges together the art of Korea, Taiwan, Japan and China. India’s MF Husain, one of the subcontinent’s best painters, was celebrated at the age of 90 by an exhibition at the Arts House in Singapore, where the artist dwelt on ‘lost human values’, as epitomised here by his painting, ‘Andy Warhol versus Marilyn Monroe’. Husain crossed global cultural frontiers, and yet across his long career his work remained unassailably Indian.

Still tradition permeates Western art in ways that can constructively lead to reappraisals, a preoccupation which currently seems to dominate curatorial thinking. For example, the paintings of Frida Kahlo at Tate Modern (page 86), reviewed by Janet McKenzie, reveal an artist struggling to break out of such constraints. If Kahlo was driven to suicidal despair in Mexico by her relationship with Diego Rivera, we also have to consider where she would have been without his compelling genius. In the self-portraits of Andy Warhol (page 62) his own inner struggle with an overweaning consumerist culture reveals the extent to which his creativity itself was threatened. Here too, Francis Bacon’s introspective self-portrait (1987; page 126) revealed a different seam of nihilism, on the edge of the abyss of all time. The optimistic nature of Jeremy Moon’s paintings, also reviewed here as a lost memory, stands as a reminder of the tragedy of his early death in a motorcycle accident in 1972, but also of that similar death almost two decades later of his brilliant advocate, the writer Peter Fuller. Moon had followed his Cambridge degree with ballet classes – so celebrating an intellectual release; something of that is revealed in the strength yet lightness of touch of his paintings reviewed here
(page 72). Our reviewer drew parallels between this and the work of Oskar Schlemmer in his ‘Triadic Ballet’ (1919). The Rocket Gallery in London is to be congratulated for returning Moon’s work to the public eye.

The Brooklyn Museum’s superb Basquiat exhibition (page 48) was reviewed as a major event: Basquiat was a child of Brooklyn, and a sense of deep roots ran through Basquiat’s work. He showed what an artist could achieve in a tragically truncated span of eight years in painting. New York City hosted three major events in particular in the year: first in importance, of course, was the star-studded relaunch of the Museum of Modern Art (page 292). The Whitney celebrated Robert Smithson’s career with a live replication of his famous ‘Floating Island to Travel Around Manhattan Island’ (page 122), which so tellingly preceded the global focus on the environment. In contrast, the Guggenheim Museum provided a détente in the form of ‘RUSSIA!’ (page 172), a blockbuster which perhaps may be the last such exchange.

Paris gave us, in the Pompidou Centre, ‘Big Bang: Creation and Destruction in 20th Century Art’ (page 116), typically focusing on ‘the creative destructiveness of Modern Art’. This was intended ‘to shatter existing values’. The cyclical impacting of art galaxies may again be on the dark edge of an even bigger bang. This controversial exhibition ran on into 2006. In London, Joseph Beuys’s work was well exhibited in a retrospective at Tate Modern, revealingly reviewed by Richard Demarco (page 28). ‘The Pack’, chosen for our cover, must now be acknowledged one of the great works of the last century.

A yearbook to the electronic version of Studio International can only hold a small selection of our reviews. The printed words give us back our memories more tangibly. It is a ‘palimpsest’ (a manuscript used one or more times after earlier writing has been erased). The printed articles stay here in palimpsest as though on parchment. Electronically, they may be wiped, and certainly swiped, by the student body. But that is the nature of our knowledge-based universe.

As Editor, I am pleased to acknowledge with thanks all the institutions and individuals who permitted Studio International to access and reproduce material from their hard-won endeavours, the product of an outstanding year. Also, thanks to our growing band of global contributors for their tireless investigations and prompt delivery on schedule. 2005 resulted in a brilliant, if unorthodox, editorial harvest. As Heraclitus also said, ‘You cannot step into the same river twice’.

To this end, the yearbooks now serve as a memento as they build up in sequence together.

Michael Spens
Editor

Back to the top


 

Contents

  • Anthony Caro
  • Jannis Kounellis
  • Archilab: New Experiments in Architecture, Art and the City, 1950–2005
  • The Triumph of Painting Colour Power: Aboriginal art post 1984
  • Joseph Beuys: Actions, Vitrines, Environments
  • Africa Remix
  • Christo’s Gates: a New Yorker reflects
  • The World is a Stage: Stories Behind Pictures
  • Basquiat
  • Andy Warhol Self-Portraits
  • The Elegance of Silence: Contemporary Art from East Asia
  • Mr Jeremy Moon experiments
    Jeremy Moon: drawings and collages
  • From Kirchner to Kandinsky: German Expressionism in Dutch Museums 1919–1964
  • Visuality and Biblical Text: Interpreting Velázquez’ ‘Christ with Martha and Mary’ as a Test Case
  • Frida Kahlo
  • Design: Edward Bawden and Eric Ravilious
  • Nicholas and Alexandra: The Last Tsar and Tsarina
  • Erich Mendelsohn: Dynamics and Function – Realised Visions of a Cosmopolitan Architect; Motion Path; Bridget Smith: Rebuild
  • An architecture of invitation: Colin St John Wilson
  • Defining Yongle: Imperial Art in Early Fifteenth-Century China
  • Big Bang: Creation and Destruction in 20th Century Art
  • Robert Smithson
  • Francis Bacon: Portraits and Heads
  • MVRDV KM3: Proposals for Chinese Cities
  • Matisse, His Art and His Textiles. The Fabric of Dreams
  • MACO: México Arte Contemporáneo
  • Art Since 1900
  • Brooklyn Tulip
  • Modes en Miroir: la France et la Hollande au temps des Lumières
  • A tribute to Eduardo Paolozzi
  • Cressida Campbell
  • RUSSIA!
  • To the Finland Station and back: RUSSIA!
  • Bottoms Up: Turner Prize 2005
  • RIBA Stirling Prize 2005
  • Gauguin’s Vision
  • All the Fun of the Fair: Frieze Art Fair 2005
  • Obsessive Drawing
  • MF Husain: The Lost Continent
  • Eileen Gray
  • Love Revealed: Simeon Solomon and the Pre-Raphaelites
  • The Sculpture of William Turnbull
  • Arthur Boyd and Saint Francis of Assisi
  • An Early Encounter with Tomorrow: The 2005 World Exposition
  • Cecily Brown: Paintings
  • The Chichu Art Museum
  • Pop Culture on Repeat
  • Embanking the Sublime. The Unilever Series: Rachel Whiteread
  • Bloomberg New Contemporaries 2005
  • Blood Red Suns and Bright Yellow Moons.
    Henri Rousseau: Jungles in Paris
  • China’s Artistic Evolution, Then and Now
    China: Crossroads of Culture
    Follow me! Chinese Art at the Threshold of the New Millennium
  • Modern MoMA
  • Seeking Paradise
Follow us twitter facebook instagram

Click on the pictures below to enlarge

Thao Nguyen Phan: Becoming Alluvium

The Vietnamese artist weaves moving image, lacquer work and watercolour paintings on silk into a mes...

London’s Arts Labs and the 60s Avant-Garde

From a naked man flinging himself into a giant jelly to a 24-hour piano recital to John Lennon and Y...

Dutch Design Week

It is known as a showcase for critical, speculative and multidisciplinary design projects that make ...

Kehinde Wiley: Ship of Fools

Wiley’s first foray into depicts a scene of young black men in the sea, struggling to reach land. ...

Alfred Wallis Rediscovered

This show explores the works of the fisherman-turned-artist who painted the souls of boats and inspi...

Eleanor Bartlett – interview: ‘When you see a great lump of tar, it’...

The artist talks about why she favours working with bitumen, metal paint and wax and why colour is d...

Michael Armitage: Paradise Edict

The British Kenyan painter’s first institutional show demonstrates his remarkable development, whi...

Bruce Nauman

Bruce Nauman’s work explores language and perception in a manner that is at times irksome or troub...

Toulouse-Lautrec and the Masters of Montmartre

This fantastic exhibition of belle époque posters, by Parisian artists who used developments in col...

Ali Kazim – interview: ‘When I picked up a pottery shard and it had so...

The artist talks about looking to ancient civilisations for inspiration, why he doesn’t like worki...

Bochner Boetti Fontana

This lush, even glamorous exhibition is curated by Mel Bochner and comprises 18 works by himself, Al...

Arik Levy and Zoé Ouvrier – interview: ‘We definitely influence each ...

Ahead of their first joint exhibition, Beyond Nature, the artists talk about their relationship to n...

Nicole Eisenman: Where I Was, It Shall Be

Nicole Eisenman’s first solo UK presentation for Hauser & Wirth Somerset showcases her large sculp...

Cybernetic Serendipity: The Computer and the Arts

To mark the 50th anniversary of this pioneering publication and exhibition, Cybernetic Serendipity: ...

Michael Clark: Cosmic Dancer

Through film, sculpture, painting, costume and photography, this wild party of an exhibition celebra...

The Studio, Vol 1, No 1, April 1893

The Studio: An Illustrated Magazine of Fine and Applied Art was first published in April 1893. It in...

Ann Veronica Janssens — interview: ‘I try to make visible the invisibl...

The Belgian artist discusses her perception-bending work, currently on display at the South London G...

Rashid Johnson: Waves

Is the message of Rashid Johnson’s new show helped or hindered by the repetitive motifs and elabor...

María Berrío: Flowered Songs and Broken Currents

The eight new works here began as a project about a fictional village and its response to tragedy, b...

Royal Academy of Arts Summer Exhibition 2020

For the first time ever, the Summer Exhibition falls in autumn and winter, but the RA’s galleries ...

Artemisia

Long-known for her autobiography, visceral and violent, yet strongly feminine portrayals of Apocryph...

Tim Clark – interview: ‘This set of Hokusai’s drawings is a really i...

The British Museum has just bought 103 newly rediscovered drawings by Hokusai. Tim Clark, the museum...

Fabienne Verdier: Vortex

Sound and vision collide in Verdier’s work, with this latest show exploring the physical, emotiona...

Billie Zangewa – interview: ‘I realised that I had chosen to embody th...

The Johannesburg-based artist, whose work is currently on show at Lehmann Maupin in New York, talks ...

1-54 Contemporary African Art Fair

Although this year’s fair had to be pared back, it nevertheless showcased a diverse and exciting r...

Christina Quarles – interview: ‘These works are holding onto that slow...

Created during lockdown, against a backdrop of rising deaths from Covid, the police killing of Georg...

Not Without My Ghosts: The Artist as Medium

An exhibition of art inspired by the spirit world at Drawing Room London offers up some surprising v...

Everyday Heroes

An outdoor exhibition of art on London’s Southbank celebrates the heroes of lockdown with an eclec...

Huma Bhabha – interview: ‘The more complicated and layered the work is...

The artist explains how working for a taxidermist helped her with sculpture, why she is fond of mate...

Stuart Whipps: If Wishes Were Thrushes, Beggars Would Eat Birds

Using installation, photography, film and sound, Whipps takes us on a journey exploring histories fr...

studio international logo

Copyright © 1893–2020 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