Page 11 - Studio International - January 1966

Editorial statement

Studio International Studio International is now being published by Cory, Adams a- Mackay, and
Volume CLXXI No. 873 the new publishers and editor plan to continue and expand its international
January, 1966
connections, and to report regularly on trends in the United States, Europe, Latin
America and elsewhere. We also propose to make the journal an authoritative
reflection of the current situation here in Britain.
The time seems right for such an emphasis. The position of the arts is here
more fluid, the activity greater, than in most other Western countries. This has
little to do with nationalism ; it has more to do with the fact that Britain, poised
between the United States and Europe, is susceptible to the influences of both
and wholly committed to neither. But the resultant activity is positive and
creative, and it is important that it be reported and commented upon not only by
critics but by the artists themselves and by other people deeply concerned
with the arts.
We believe, too, that it is appropriate to broaden the journal's scope to cover the
contribution of artists to related fields (such as architecture and graphic design)
and to provide an outlet for considered opinion on the purpose and place of
criticism. Studio International should also aim to further appreciation of the arts
among the public in general, provide the maximum of information for students,
and present a balanced critical perspective that does not ignore the way in
which the art of the past is constantly being re-interpreted in terms of today.
Something of the lively, up-to-date quality necessary to a journal of
contemporary art was characteristic of our ancestor, The Studio, whose
honourable tradition is now part of Britain's art history. Liveliness and a wide
sweep made it an interesting and internationally-influential publication from the
very first volume, which appeared in 1893 carrying Beardsley's first published
drawings (to the scandal of art-lovers and the enrichment of European art),
touched on most of the topics then engaging artists, and included a long
discussion on whether photography was harmful or not to painters. (To this
discussion Sickert rather surprisingly contributed a letter beginning : 'In proportion as
a painter or a draughtsman works from photographs, so is he sapping his powers
of observation and of expression. It is much as if a swimmer practised in a cork
jacket, or a pianist by turning a barrel-organ.')
Without aping our ancestor or adopting the applied-art image of the early
Studio, we hope to give something of this liveliness to Studio International.
This cannot be done immediately, of course, and how far we can succeed will
depend primarily on the response of artists, critics, and readers. We have been
fortunate, however, in securing the co-operation of several well-known critics.
Dore Ashton will continue to cover the New York scene, Edward Lucie-Smith
will contribute a monthly London Commentary, and Jasia Reichardt is to
comment regularly on art-world events.
Moreover, from the February issue, Studio International will have an editorial
advisory committee composed of Alan Bowness, Lecturer in the History of Art,
Courtauld Institute; Andrew Forge, painter, critic, and head of the Painting
Department, Goldsmiths' College School of Art; and David Thompson, former
art critic of The Times; while Dr J. P. Hodin is to advise on international
relations. n

A message from Miss Jennie Lee MP
Minister for the Arts

Communication between the public at large and those professionally involved
in the arts is invaluable.
I therefore welcome wholeheartedly the efforts of Studio International to strengthen and
broaden its work in this field.
May I wish you every success in the task you have set yourselves.