Page 22 - Studio International - May June 1975

access to international news of the arts. A This brings me to 'How an Issue is Put magazine was worth two one-man shows.
recent book on art school students said Together'. By that I do not mean printing There may be some truth in this. If there
that Studio was the most read of all art methods, commissioning, proof-reading, is, it makes the editorial staff's
magazines in British art schools. As an etc.; I mean the 'thrown together' or responsibility that much greater.
editor one hopes so. One wonders, ad hoc elements that this magazine shares That said, there is no escaping the fact
however, how many people read art with every other magazine. When a that a magazine such as Studio depends to
magazines, or most other magazines for glossy, designed, illustrated magazine a considerable extent on its advertising
that matter. The majority, I suspect appears on the bookstalls it may have an revenue, and that this may involve
thumb through, look at the reproductions, almost magisterial appearance, as though compromises along the line.
read the gossip or sale reports, find out every part were intended. Don't believe
new trends or look to see who's been it. Contributors fail to appear with their Taking these considerations into account,
given a favourable review. Perhaps art copy; commissioned articles turn out to does such a magazine as Studio have an
magazines should be for looking at, not be too poor to publish; illustrations do obligation to its Local Constituents, by
reading through. Certainly most are not arrive; the number of pages has to be which I mean not only audience and
fairly indigestible. reduced; there is a shortfall in advertising, dealer-advertisers, but (primarily)
so that more pages have to be filled with artists ? I think it does. It is a magazine of
Next, the question of power. Stupidly, I editorial matter, which has to be found at record, and throughout its history a
had not thought of it until an art short notice. This is an aspect of record principally of British art; it feeds
student, over a lunchtime drink in The magazine production of which readers off artists; it should try to return
Plough on Museum Street, asked me generally are too unaware. something to the artists it feeds off. This
what it felt like to have power in the art is not to deny that it also has a function
world. Somehow it's not the first On relations with dealers (which also has as a reporter inwards, into Britain, of
question to arise in one's mind when a bearing on the two preceding items), a things international and strange; but it
one's first issue is knocked out sitting on series of questions and answers. Do some has an obligation to project British artists
orange boxes in a small office on Boxing magazines insist on dealers paying for to a national and international audience.
Day (as was the January 1966 issue), and their cover illustrations or colour plates ? I'm not sure we have always done so
thereafter the magazine is wrapped round Yes. Does Studio ? No. Do some dealers effectively.
one's neck month after month. The first `place' articles with art magazines ? Yes. I can think immediately of a dozen
question that arises in editorial minds is to Does Studio accept such articles ? No. (I British artists who should have been
get the issue out and get on with the next. have one on my desk at the moment. The given attention in our pages. This is
Yet, inevitably, the question of power answer is still 'No%) Do dealers particularly true of younger artists who
does arise. Examples : from an Australian sometimes threaten to withdraw have had no adequate showing in galleries
artist-critic, several years ago, `Do you advertising if you do not cover their and might benefit by what is called
realize that in Australia people paint in artists ? Yes; had one such threat a month `exposure' in a magazine. It may be that
three ways, the Australian way, the Art ago. Do they complain if you don't cover in justifying the adjective tacked on to our
International way, and the Studio their artists enough ? Yes. Do they ever name we have overlooked too many
International way ?' (I only hope they cut out their advertising altogether in the people of stature in our own backyard,
stick to the Australian way); in Cyprus light of a bad review ? Yes, had an just as the 'official' U.K. art structure has
three artists, living far from each other, instance only three or four months ago, overlooked its duty to provide more
shared a subscription to Studio and met one of the most powerful dealers, rather exhibition opportunities to British artists,
monthly to discuss its contents and edgy at the moment, would have thought old and young, on the most catholic
estimate which way the wind was he could have put up with something like basis — figurative, abstract, every facet —
blowing; in Abu Dhabi a merchant that on the basis that 'a bad review is during the past ten years.
selling general goods had a regular better than none'. Do some dealers offer For another, more-recently founded
market for six copies of the magazine (I more subtle blandishments, drinks, social magazine with a different orientation the
know because a former editorial secretary functions, introductions, even sketches case might be different.
went in there to buy kitchen utensils) — or drawings ? Yes. Do you ever fall for
were they bought because Studio runs the them ? Yes, and realize too late. But make As part and parcel of this we have tried to
odd nude or near-pornographic a rule never to accept gifts from dealers. encourage younger critics. I think I am
illustration, or because they were in some Isn't this rather purist ? Yes. correct in saying that among those who
way communicating to Abu Dhabians an Do you ever bend over backwards to have found through Studio a first real
interest in painting, sculpture and so on ? accommodate a dealer or advertiser ? Yes. platform are Charles Harrison, Tim
These examples are a bit frivolous, but How do you reconcile this with what Hilton, Barbara Reise, Joe Masheck,
I could quote many more serious, and you've already said ? Because galleries Rosetta Brooks, Frank Whitford, John
they add up to the obvious fact that art and advertisers, however one may Elderfield; among those who have had
magazines are all too often part of a distrust the plush-carpet aspect many of their first 'international' exposure in this
publicity machine used by artists and them present to the outside world, are an way are Rudi Fuchs, Georg Jappe,
dealers alike, and as such are to be taken essential like-it-or-not part of the artists' Robert Kudielka and Michel Claura. And
with large doses of salt. Except when they world, and a number are very genuinely many more.
purvey straight information or engaged with their artists. How do you do The opportunities for publishing art
documentation, as carefully selected as it, then ? By trying to ensure that their criticism in the UK are limited. Because
possible. Though in saying 'as carefully major shows are covered, and the rest are of this a magazine such as Studio has a
selected as possible' one realizes that this either criticized or overlooked. Does this certain obligation to encourage younger
selection can often be suspect, is satisfy them ? Not always. Do you review, writers and to allow them to accumulate
sometimes the result of pressures, and can for example, shows by galleries that do experience. Otherwise the level of art
frequently reflect the ignorance of the not advertise ? Assuredly; some of the criticism in this country will remain at a
selectors. most interesting galleries don't or won't pretty low level.
Personally, I tend to agree with Darby advertise or can't afford to. A propos of this, it would be good if art
Bannard who, in our last issue, said that Isn't there an element of sophistry in schools and art departments introduced
he warned his students against art this ? Yes. You have to learn to fall flat on into their curricula seminars or courses to
magazines. Their influence can often be your face, bend over backwards, and still examine contemporary (let's say noth
one-sided; their content frequently remain upright. Believe me, it isn't easy. century) criticism — the criteria used, the
reflects narrow interests or commercially- Nevertheless we've tried. value or otherwise, what published
oriented purposes. How far do you think the sort of criticism means to artists and dealers and
But an editor would be crass not to publicity medium you offer is effective in markets, the jargon and the specialist
recognize this influence, even with a dealer terms ? I think it was Willi Bongard, nature of the vocabulary used. From
small print-run magazine such as Studio; archdeacon of Art Aktuel, the news sheet among their students, after all, will
the only possible answer is to keep the which discreetly tells you what, where come most of our future art critics.
pages as open and as wide-ranging in and when to buy, and for roughly how
their views as possible. much, who said that a reproduction in a What I really meant by 'working with

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