Published  21/01/2013
Share:  

Special issue 2008, Volume 207 Number 1030

Studio International Yearbook 2008

Special issue 2008, Volume 207 Number 1030.

Publisher: The Studio Trust
Content: 254 pages, full colour
Language: English
ISBN: 0962514187 (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

This year Studio International expanded its coverage of the southern hemisphere. We featured the phenomenon of contemporary Australian Aboriginal art, which is driven by deep political and cultural necessity. The Aborigines’ pride in their culture and traditions in the face of their appalling treatment by white settlers from 1788 onwards has resulted in art with rare and powerful qualities. Studio International is committed to presenting contemporary Aboriginal art to an international audience, thus supporting scholarship in the field of Indigenous art in Australia, with its global implications for us all. From it, we can all learn and re-learn about our common humanity in an attempt to redress the wrongs of colonial history worldwide.

From Latin America came a significant article – an interview with the Director of the Bienal Internacional de Arte de São Paulo, Ivo Mesquita. Mesquita made typically frank observations about present-day biennales, which he said have developed a ‘circuit of repetition’. This is of significance to other international biennales, which continue, amid commercial and media hype, beyond their original catalytic role. Indeed, the Bienal de São Paulo this year was distinguished by an entire floor without any art exhibits at all: The Void. Mesquita explained that large exhibitions needed to be pared down to create space for the vital critical dimension of exhibitions; size should be limited in order for there to be ‘a conceptual axis connecting the works’. But the question remains, how in future will the global biennale movement be resuscitated or replaced?

The year 2008 has been one in which society also peered into the void in economic terms. We have included in this Yearbook several critiques of individual or group artists’ work. One British artist, Damien Hirst, cannily perceived the dilemma of art galleries and the saleroom. He held his own auction of works at Sotheby’s, London, in a prescient and profitable venture, which also witnessed the operation of a new phenomenon, the ‘art hedgefund’. The timing of the sale, within a day of steep declines in world stock markets, could not have been better.

As the economic crisis took hold, it was surprising how a certain serendipity prevailed, as exemplified in the paintings of Peter Doig, and the installation spaces of Roger Hiorns, an inspired commission by Artangel in London. With hindsight, Hiorns’ Seizure (2008) carries intimations of impending disaster. Elsewhere in Studio International, photography is well represented, with the Hayward Gallery’s masterly display of Rodchenko images, and by the sublime naturalism of Nick Howard’s photographs from York and nearby, reminiscent in their theatrical referencing and irony of the visual language of the filmmaker Antonioni from the 1960s. Related here, too, are the moving stills from Derek Jarman’s excellent Serpentine Gallery show, together with Nina Kellgren’s frozen image of his friends Isaac Julien and Tilda Swinton standing at Jarman’s grave in private memoriam of his stature.

Within the 2008 Yearbook one can readily make apposite connections from contemporary to historic works. For example, John Bellany’s exhibition of portraits, in the same volume as Lucas Cranach the Elder, reveal Bellany’s homage to the northern tradition in art and the abiding power of symbol, formal device and iconography, which, in spite of globalisation and the necessary redress of the imbalance of centre and periphery in culture (issues that are also addressed by Arthur Watson in remote Gaelic communities in Scotland), continues to link individuals both throughout the world and from different centuries. There are marvellous connections between the portrait Helen [Bellany] (1964) and St Helena and Self-Portrait (1966) and Cranach’s Portrait of Martin Luther (1525). We present different approaches by artists to the politics of war and peace: Richard Hamilton’s guntoting cowboy Tony Blair at the ready, trigger-happy for mass destruction with six-shooters, encapsulates that erstwhile warmongering image. American-born Australian artist William Kelly re-emphasises the longstanding social role of the ‘Artist as Peacemaker’, following Picasso’s own commitment. Kelly’s personal and literal revisiting of Guernica (1938) indicates how and where some artists still choose to go, whether commercially beneficial or not.

This unpredictable year has been one of bewildering transition. Creative sensibilities are stirring and new ethical tenets emerging, many free from curatorial predilections. New models are needed to replace the old and wilting stockades of the past half-century, aided by emerging networks of electronic communication and knowledge exchange. Studio International will continue to observe and report on these pivotal issues.

Michael Spens
Editor

Back to the top


 

Contents

  • The Art of Nothing: Ivo Mesquita and the Bienal Internacional de Arte de São Paulo
  • Down among the Bowery boys
  • The One and the Many: Carlos Ortiz and the Dance of Life
  • Chris Ware Builds Stories for Our Time
  • John Bellany, Exhibition of Portraits
  • Modern Painters: The Camden Town Group
  • Pallasmaa phenomenon
  • Revisiting Juan Soriano in Philadelphia
  • Duchamp, Man Ray, Picabia
  • Face to Face – The Daros Collections
  • That Man from Rio: Celebrating Oscar Niemeyer’s Centennial
  • Alexander Rodchenko: Revolution in Photography
  • China Design Now
  • Derek Jarman: Brutal Beauty
  • Lucas Cranach
  • Mars Collects!
  • Papunya painting: out of the desert
  • Arthur Watson: poetic conceptualist
  • Peter Doig
  • Cy Twombly: Cycles and Seasons
  • The Hanging Gardens of Colas: Bernard Lassus
  • William Kelly – Artist as Peacemaker
  • A Runaway Girl at Home in New York: Louise Bourgeois at the Guggenheim
  • Art, Consciousness and Other Intractable Problems
  • Chantal Akerman
  • Richard Hamilton: ‘Protest pictures’
  • Medium or rare: the art-market grill
  • Museums in the 21st century
  • Oscar Muñoz: the Presence of the Absence
  • To Die For, images of Castle Howard on a certain day
  • Roger Hiorns: Seizure
  • Utopia: the genius of Emily Kame Kngwarreye
  • Aboriginal women as ambassadors of art and culture
  • A Creative Transatlantic Tango Shapes the Modern World: Paris/New York, 1925–1940
  • A dish of local ingredients with regional flavour and international appeal
  • Rafael Lozano-Hemmer
  • Robin Rhode
Follow us twitter facebook instagram

Click on the pictures below to enlarge

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...

The 20 best art books of 2020

With many galleries and museums shut, art books have become more important than ever. Here are 20 of...

Emma Nicolson of Inverleith House: ‘Art institutions can highlight the d...

Emma Nicolson, the head of creative programmes at Inverleith House at the Royal Botanic Garden Edinb...

Jim Dine – interview: ‘I never stop looking. I never stop examining. I...

Artist Jim Dine talks about his easily recognisable paintings, into which he embeds tools and incorp...

Arctic: Culture and Climate

The British Museum’s latest exhibition explores the cultures of the Arctic and the many ingenious ...

Trulee Hall – interview: ‘When I say “whore”, I wouldn’t say tha...

Trulee Hall talks about her multimedia practice, her views on sex and voyeurism, and how she hopes h...

Haegue Yang: Strange Attractors

Connections both cosmic and corporeal are woven throughout Haegue Yang’s sculptures, collages and ...

Trinity Buoy Wharf Drawing Prize 2020

This year, the 25th anniversary of the prize, the exhibition contains 71 works, many coloured by the...

Robert Smithson: Hypothetical Islands

With works largely drawn from the collection of his wife, Nancy Holt, Smithson’s hypothetical isla...

Exercising Freedom: Encounters with Art, Artists and Communities

Drawing on archival material, this fascinating exhibition looks at the Whitechapel Gallery’s pione...

Monica von Schmalensee – interview: ‘Architecture is an instrument for...

Von Schmalensee, former CEO and now partner of White Arkitekter, has advised the Swedish government ...

Art by Remote: Art Basel Miami Beach

With the Miami Beach Convention Center turned into a Covid-testing site, taking ABMB meta, Miami’s...

Susie MacMurray – interview: ‘A feather is never just a feather, and a...

Susie MacMurray talks about how she uses art to raise questions rather than make statements, and abo...

Sin

A compact, but rich exhibition at the National Gallery finds moral transgression at the core of west...

Lucy McKenzie: Prime Suspect

A mid-career survey of the Brussels-based Scottish artist conceals big questions in illusionistic ma...

Kai Althoff Goes With Bernard Leach

Juxtaposing a sprawling selection of Althoff’s works with a tribute to British studio pottery, the...

studio international logo

Copyright © 1893–2021 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