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[COLLECTIVE].
Artstudio No. 1.
Paris, Artstudio, 1986. |

[COLLECTIVE].
Artstudio No. 2.
Paris, Artstudio, 1986. |

[COLLECTIVE].
Artstudio No. 3.
Paris, Artstudio, 1986. |

[COLLECTIVE].
Artstudio No. 4.
Paris, Artstudio, 1987. |
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[COLLECTIVE].
Artstudio No. 5.
Paris, Artstudio, 1987. |

[COLLECTIVE].
Artstudio No. 6.
Paris, Artstudio, 1987. |

[COLLECTIVE].
Artstudio No. 7.
Paris, Artstudio, 1987. |

[Andy WARHOL].
Artstudio No. 8.
Paris, Artstudio, 1988. |
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[COLLECTIVE].
Artstudio No. 9.
Paris, Artstudio, 1988. |

[COLLECTIVE].
Artstudio No. 10.
Paris, Artstudio, 1988. |

[COLLECTIVE].
Artstudio No. 11.
Paris, Artstudio, 1988. |

[Jasper JOHNS].
Artstudio No. 12.
Paris, Artstudio, 1989. |
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[COLLECTIVE].
Artstudio No. 13.
Paris, Artstudio, 1989. |

[COLLECTIVE].
Artstudio No. 14.
Paris, Artstudio, 1989. |

[COLLECTIVE].
Artstudio No. 15.
Paris, Artstudio, 1989. |

[COLLECTIVE].
Artstudio No. 16.
Paris, Artstudio, 1990. |
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[Francis BACON].
Artstudio No. 17.
Paris, Artstudio, 1990. |

[COLLECTIVE].
Artstudio No. 18.
Paris, Artstudio, 1990. |

[COLLECTIVE].
Artstudio No. 19.
Paris, Artstudio, 1990. |

[Roy LICHTENSTEIN].
Artstudio No. 20.
Paris, Artstudio, 1991. |
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[COLLECTIVE].
Artstudio No. 21.
Paris, Artstudio, 1991. |

[COLLECTIVE].
Artstudio No. 22.
Paris, Artstudio, 1991. |

[COLLECTIVE].
Artstudio No. 23.
Paris, Artstudio, 1991. |

[Ellsworth KELLY].
Artstudio No. 24.
Paris, Artstudio, 1992. |
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"The creation of Artstudio is due to the gallerist Daniel Templon. Art has always
been dependent on economic reality. Daniel Templon, with whom I already had a long professional
history – and who had been at the origin of art press alongside Catherine Millet – wished
to create a review with this in mind. We were very aware – myself from a more theoretical side, and
Daniel from a more practical side, of what was very important – precisely this plurality, this
postmodern situation. (...) We launched Artstudio and approached authors we deemed significant, who had things to
say, but by trying to offer them something outside of their usual strategies:
meaning Jean-François Lyotard on Karel Appel, which he did with great pleasure and extraordinary
generosity in issue No. 18; there is also the contiguity of Jean-Louis Schefer and Georges Didi-Huberman in issue No. 16 on the monochrome, which wasn't a given... There are quite a few things like that which we managed to achieve and which ultimately relaunch the debate – criticism within the expanded field! That was therefore the concept behind Artstudio, launched in the summer of 1986, with
Claire Stoullig as its first editor-in-chief."
The Postmodern: a relevant paradigm in the artistic field?
Interview with Ann Hindry."
"Artstudio will address the major subjects of contemporary art in the form of in-depth studies,
dossiers, and essays, thereby helping to spark a debate of ideas
on the artistic evolution of our time." Excerpt from Artstudio No. 1. |
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