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Published  21/01/2013
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Special issue 2009, Volume 208 Number 1031

Studio International Yearbook 2009

Special issue 2009, Volume 208 Number 1031.

Publisher: The Studio Trust
Content: 320 pages, full colour
Language: English
ISBN: 0983259909 (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

Another Yearbook feels like a cause for celebration. In response to the financial crash in 2008, cautionary spending policies were adopted by galleries and museums, and major auction houses laid off junior staff and battened down the hatches. At the top end of the art market, however, prices and profits continued to rise, exacerbating the paradox of cut-backs and closures at community and regional levels. Art publishing too must proceed carefully, making the role of online journals such as Studio International in education and in the dissemination of critique more important than before.

Against the values we have inherited from the Enlightenment and 20th-century romanticism, whither are we bound? That art is central to global culture, there is no doubt, and so too, the role of the artist to question powerful hegemonies on the world stage. The relatively modest exhibition, Damaged Romanticism: A Mirror of Modern Emotion, which had sprung out of the University of Houston’s Blaffer Gallery in late 2008, reached New York University’s Grey Art Gallery in the spring of 2009 (also shared with the Parrish Art Museum, Southampton Long Island). Is the non-centrality of these venues, the non-celebrity status of most of the 15 international exhibiting artists, or the non-alignment of the exhibition’s theme to current high-priestly curatorial preoccupations in the main centres, a reason why this challenging exhibition has not yet moved on to a wider, major circuit? It would be a most fitting exhibition in any of a number of venues in Europe at the present time.

A sympathetic strain of motivation and inspiration was already evident in the contributions of many of our writers here, and the works they choose to focus on: Cildo Meireles, Rosalind Nashashibi, Anthony Gormley, Aida Tomescu, Sophie Calle and Tracey Emin. We have also sought to cover major museum and gallery events, with the relaunch of London’s redesigned Whitechapel and outstanding shows such as Tate Modern’s Rodchenko and Popova, which at last set right the key role of Liubov Popova in reappraising Constructivism. This enabled the principles of Constructivism to find fuller application in photography and film-making. Perhaps it is symptomatic of the redefinition of that key movement in Russia, and its ramifications and legacy, that two new publications on film-maker Andrei Tarkovsky have appeared, in which his lasting – but not fully recognised – influence on film and television today is asserted. Tarkovsky can be seen to have been a “damaged Romanticist” who mirrored modern emotion.

We keep a watch on today’s pivotal figures, including Richard Serra, Gerhard Richter, Anselm Kiefer, Luis Barragàn and now Ed Ruscha, always wary of the curatorial urge to revise and the art market’s urge to hedge. Even Frieze Art Fair, a superb London innovation, showed symptoms of both processes. We welcome our growing cyber-readership, including an increasing number of students.

Michael Spens
Editor

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Contents

  • Olivier Richon | Anima(l)
  • Alsop’s Tabletop
  • Richard Serra in London
  • Jörg Schmeisser
  • Once Again, Fashion’s First “Beatnik”
  • Takes Centre Stage
  • Projects in China: Architects Von Gerkan Marg and Partners
  • Cildo Meireles: From Sense to Concept
  • Romantic Visions for a Terminally Ill World
  • Materiality and Memory. An interview with Cildo Meireles
  • Rodchenko and Popova: defining constructivism
  • The British Council Collection: Passports
  • Gerhard Richter Portraits
  • A Love Affair with Glass
  • Tarkovsky
  • Uch Emchek or 3M-Check: Central Asia’s First Art Residency Programme
  • Artists in the Bush: Land Issues in the Art of GW Bot, Wendy Stavrianos and Helen Geier
  • Whitechapel rising: the new opening
  • Colour Chart: Reinventing Colour, 1950 to Today
  • Roni Horn aka Roni Horn
  • Richard Long: Heaven and Water
  • The Beijing National Stadium – Beijing Olympic Architecture (in Retrospect I)
  • The Beijing National Aquatics Centre – of Bird’s Nest and Bubbles (in Retrospect II)
  • Gormley’s Plinth
  • Classified: Contemporary Art at Tate Britain
  • Patrick Tjungurrayi, Warlimpirrnga Tjapaltjarri
  • Radical Nature: Art and Architecture for a Changing Planet 1969–2009
  • Carlo Cardazzo – A New Vision for Art
  • The Woodblock Painting of Cressida Campbell
  • Venice Biennale 2009
  • One Thousand Drawings by Tracey Emin
  • Walking In My Mind
  • Rosalind Nashashibi
  • Crazy Mayer’s Storehouse of Memories
  • Abstract America: New Painting and Sculpture
  • American Idyll – Jenny Watson
  • Making Art in Paradise. Serizawa: Master of Japanese Textile Design
  • Ed Ruscha: Fifty Years of Painting
  • Grayson Perry: The Walthamstow Tapestry
  • Remains and Remnants. Anselm Kiefer: The Fertile Crescent
  • Aida Tomescu: Paintings and Drawings
  • Art and Text
  • Frozen smiles, melting hearts: Frieze Art Fair 2009
  • The Unilever Series: Miroslaw Balka, How it is
  • Sophie Calle: Talking to Strangers
  • Lucy Stein: Creemie Myopic Fables/Group Show: Purpling
  • New Contemporaries 2009
  • Pop Life: Art in a Material World
  • Conceptual drawing. Recent work by Bernhard Sachs, Mike Parr, Greg Creek and Janenne Eaton
  • GSK Contemporary. Earth: Art of a changing world

Click on the pictures below to enlarge

Sharjah March Meeting 2024: Tawashjuat

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Martin Boyce – interview: ‘You’re both inside and outside. There’s...

Martin Boyce’s show at Fruitmarket, Edinburgh, offers three distinctive, in-between spaces for exp...

Hanna Bekker vom Rath: A Rebel for Modern Art

This richly documented show does justice to the feisty Hanna Bekker vom Rath, a German art collector...

Infinite Variety: Harold Cohen and Cybernetics in the 1960s

On the occasion of a show of Harold Cohen’s work at Gazelli Art House in London, we consider the p...

Issam Kourbaj: Urgent Archive

Through his sensitive and thoughtful works, Issam Kourbaj ensures the plight of those in his native ...

William Blake’s Universe

The English eccentric William Blake meets his German peers in a treasure-strewn exhibition that make...

Chronorama: Photographic Treasures of the 20th Century

Highlights from the golden age of photography, produced for fashion magazines Vogue and Vanity Fair,...

Thea Djordjadze: Framing Yours Making Mine

In this comprehensive show, Georgian artist Thea Djordjadze’s spare sculptural works emanate a sen...

Soulscapes

Hurvin Anderson, Michael Armitage, Alberta Whittle and other artists from the African diaspora consi...

Gillian Lowndes: Radical Clay

A post-apocalyptic landscape or an abandoned toolshed? This compact exhibition, by ceramics sculptor...

Sargent and Fashion

This show looks at how John Singer Sargent styled his sitters, insisting they wore certain garments ...

Francis Picabia: Women: Works on Paper 1902-1950

A career-spanning exhibition of drawings and watercolours shows the elusive modernist Francis Picabi...

Entangled Pasts, 1768–now: Art, Colonialism and Change

The Royal Academy, founded at the height of the British empire, brings together more than 100 histor...

Barbara Kruger: Thinking of You. I Mean Me. I Mean You

As poetic as it is urgent, Barbara Kruger’s text-based work packs a weighty punch. Her methods of ...

Moon/King: The Work and Friendship of Phillip King and Jeremy Moon – 195...

Phillip King and Jeremy Moon met as students at Cambridge and remained friends until Moon’s death ...

The Korean Moment

A flurry of museum and gallery exhibitions flags a surge of interest in Korean art. The most compell...

Harold Cohen: AARON

Through paintings, works on paper and projections, this exhibition traces the evolution of AARON, th...

Gayle Chong Kwan – interview: ‘I’ve made a connection between displa...

Gayle Chong Kwan talks about using sand and sugar to make historic and contemporary connections betw...

Yoko Ono: Music of the Mind

Spanning seven decades of Yoko Ono’s groundbreaking work, from the 1950s to now, some done with Jo...

Leo Robinson – interview: ‘Human beings need meaningful symbols and na...

Leo Robinson, whose exhibition Dream-Bridge-Omniglyph is now at the London Mithraeum, considers his ...

Outi Pieski – interview: ‘Contemporary art museums in general are spac...

Small carved figures, knotted fringes and historic hats represent Outi Pieski’s Sámi heritage as ...

These Mad Hybrids: John Hoyland and Contemporary Sculpture

In this joyous and eccentric show, Hoyland’s jaunty ceramic sculptures are shown alongside equally...

Unravel: The Power and Politics of Textiles in Art

The 50 artists in this formidable show have all used textiles to tell powerful stories of resistance...

Ronald Davis – interview: ‘Two artists who use perspective in their wo...

Ronald Davis talks about his art and how he started out in the 1960s, his friendship with Judy Chica...

Charles Holden’s Master Plan: Building the Bloomsbury Campus* and Warbur...

Spanning master plans and covert models, these two exhibitions conjure up a point in the early 1930s...

Frank Auerbach: The Charcoal Heads

Repeatedly drawing the same sitters from among his circle of close friends, Auerbach conveys his sub...

Jacqueline Poncelet: In the Making

After years of resistance, Jacqueline Poncelet has facilitated a full retrospective of 50 years of h...

When Forms Come Alive

The Hayward Gallery’s spring exhibition is an effervescent playground of kinetically inclined scul...

Paolozzi at 100

This show celebrating the centenary of the local artist who became internationally famous includes m...

Emily Kam Kngwarray

This major new show pays homage to Kngwarray, an Indigenous Australian who, though she only began pa...

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