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The 1997 Revue
|FEATURES 1997 ARCHIVES
THE 1997 REVUE
by Walter Robinson 12/31/97
The art stars at auction, in the museums and the galleries -- that was the year that was 1997.
SUSAN ROTHENBERG: EXQUISITE CORPSE
by Roger Boyce 12/22/97
Powerful new paintings from the contemporary New Mexico expressionist.
TRUMAN LOWE, WINNEBAGO ARTIST
by Victor M. Cassidy 12/17/97
Making an old culture new, with constructions of willow saplings and feathers.
PETER NAGY: SO MUCH DEATHLESS
by Roger Boyce 12/10/97
A new, transcendent art from the East Village veteran and Delhi emigré.
INTERIOR LIGHT: RICHARD POUSETTE-DART
by Michael Klein 12/10/97
At the Metropolitan Museum, a retrospective of the mystical Abstract Expressionist Richard Pousette-Dart.
by Robert Mahoney 11/26/97
The comedy team of Jack and Bobby Kennedy present the amazing Marilyn Monroe.
THE V&A COMES TO AMERICA
by Mary Anne Hunting 11/25/97
London's beloved Victoria and Albert Museum, via 250 incredible objects.
MONET AND THE MEDITERRANEAN
by Michael Klein 11/19/97
At the Brooklyn Museum, spare, color-saturated paintings of Venice and the Riviera.
by Michael Klein 11/5/97
"The Private Collection of Edgar Degas" at the Metropolitan Museum.
CARLO MARIA MARIANI: DEPICTING THE INEXPLICABLE
by David Bourdon 10/31/97
Visionary images from outside the known world.
WILLIAM HAWKINS: OUTSIDER, NOW VERY IN
by N. F. Karlins 10/30/97
Vividly colored visions by the late folk artist.
PURE PAINTERLY AMBIANCE: RICHARD DIEBENKORN
by Michael Klein 10/29/97
A traveling retrospective traces the metamorphoses of the popular California colorist.
TUNGA: ART RITUALS FROM RIO
by David Ebony 10/27/97
A metaphysical esthetic of performance that links people, industry and nature.
LETTER FROM LONDON: SENSATION
by David Cohen 10/24/97
At the Royal Academy, the show everyone's talking about.
RADIANT BABY MEET MA AND PA: KEITH HARING AND TOM OTTERNESS
by Alan Moore 10/16/97
The grand language of the toy, a universal discourse between adults and children.
REMEMBER THE 14 DAYS AND NIGHTS
by Ellen Cantor 10/3/97
Originally done for the Vorarlberger Kunstverein.
ELLEN CANTOR: IN [AN AT LEAST TEMPORARY] STATE OF GRACE
by Deborah Drier 10/03/97
The days of love are numbered.
NEW YORK MUSEUM CAFES
by Art Club 2000 8/25/97
Reviews of the city's leading museum eateries by a host of art-world notables.
by Kay Itoi 8/22/97
An interview with the Japanese woman artist Yayoi Kusama, whose retrospective opens at LACMA next spring.
THE TWILIGHT OF MINIMALISM
by Alan Moore 8/12/97
As the Manhattan art market expands to Chelsea, it cloaks itself in the radical guise of the '60s avant-garde.
AMERICAN ART'S ADOLESCENT IDENTITY
by Donald Kuspit 8/8/97
The problem of identity haunts American art, becoming ever more urgent and exasperating.
THE COOLNESS OF STONE
by Allison O'Mahony 8/6/97
A visit to the Isamu Noguchi Garden Museum is a recipe for cool in any season.
by E.C. Goossen 8/6/97
Since the 1960s, the New York painter Doug Ohlson has given color its full freedom.
DOCUMENTA X: PATH AND PERIPHERY
by Rosanne Altstatt 7/29/97
In many different ways, Documenta X proves an old truism -- location is everything.
by Donald Kuspit 7/28/97
Grandiose, totalizing, masochistic -- Documenta 10 argues for the continuity of critical art, but offers few imaginative or interpretive works.
DOCUMENTA: THE REALLY BIG SHOW
by Rupert Goldworthy 7/29/97
A Eurocentric and courageous look at socially engaged artistic practice is, in the end, more glum than fun.
THE ARTNET NUDE 100
by Walter Robinson and Randi Harari 7/23/97
A survey of the top-selling nudes at auction worldwide, according to ArtNet's unique auction database.
by Suzaan Boettger 7/22/97
A new exhibition focuses on the pioneering 19th-century artist colony on Tenth Street in Greenwich Village.
TOM BURCKHARDT: GRAPHIC CLARITY AND POP
by Stuart Servetar 7/18/97
A studio visit.
by Peter von Ziegesar 7/16/97
The art of Keith Haring dances a Dionysian mambo -- but down the Doom escalator.
DAVID HOCKNEY: FULL SENSORY ATTACK
by David Cohen 7/8/97
Hockney's new work combines a decorative and spontaneous joie de vivre with an intense, almost claustrophobic perceptual scrutiny.
OBJECTS FABULOUS, DESIRE FRUSTRATED
by Suzaan Boettger 6/4/97
Good stuff for sure, but MOMA's still-life show offers little that's fresh.
DISPATCHES: A STUDIO VISIT WITH MALCOLM MORLEY
by Michael Klein 5/29/97
Our peripatetic scribe visits the Long Island studio of the prize-winning painter of metaphysical tableaux of freighters, battleships and planes.
ARCHITECTURE AT THE WHITNEY BIENNIAL
by Peter Fend 5/13/97
As a rule, the Whitney Museum doesn't concern itself much with the living practice of architecture. But that didn't stop the artists in the Biennial.
A LOVE-LETTER TO OLEG KULIK
by Susan Silas 5/1/97
A prince among men, a man among dogs.
by Victor Cassidy 4/16/97
Sculptures whose forms hover just out of recognition -- but that posit the viewer as pollinator.
ANCESTOR SHIELDS OF THE ASMAT
by Alan Moore 4/8/97
The cultural artifacts of the Asmat, a "primitive" warrior people from New Guinea, make a rare appearance at the Lehman College Art Gallery in the Bronx.
ANNETTE MESSAGER at Gagosian
by Eduardo Costa 4/8/97
THE LIFE OF FLIES: ILYA KABAKOV
by Donald Kuspit 4/4/97
On one level, Ilya Kabakov's "The Life of Flies," his new installation at Barbara Gladstone Gallery, is an amusing satire; on another level, it is a metaphor overextended to encompass the Soviet Union and the world.
SMITHSON'S OLMSTED: ECOLOGIST OF THE REAL
by Suzaan Boettger 4/4/97
"Viewing Olmsted," a traveling exhibition of photographs, presents the work of the visionary 19th-century landscape designer through the lenses of three present-day photographers, and is itself inspired by a pivotal essay by earthwork artist Robert Smithson, originally published 30 years ago.
STUDIO VISIT: JANE KAPLOWITZ
by Elisabeth Kley 3/20/97
DISPATCHES: DIOR AT THE MET
by Michael Klein 3/18/97
A narrow waist and an elongated silhouette are the two true trademarks of French fashion designer Christian Dior (1905-1957), whose work is on view at the Metropolitan Museum's Costume Institute.
ANDRES SERRANO at Paula Cooper Gallery
by Paul H-O 3/11/97
The artist's controversial new photographs, "The History of Sex," aren't so much about sex acts as about display, and of course display is a sex act, the sex act in which art is grounded. Warning: Adult material.
ART CRITICISM IN A CHANGING CULTURAL LANDSCAPE
by Peter Halley 3/11/97
The work of the critic -- and the chief pleasure of criticism -- is to play an active role in forming the meaning of contemporary culture.
CRITICISM, ADVOCACY, AND THE END-OF-ART CONDITION: A WORKING PAPER
by Arthur Danto 3/6/97
When style becomes subject matter, everyone belongs to the identical artistic culture, which is neutral with respect to visible styles. Even bad drawing and bad painting. And the critic...
ART WRITING AND ART SCHOOL
by Jeremy Gilbert-Rolfe 3/4/97
Are art magazines taken more seriously everywhere other than those places where art is made, exhibited and sold? Here, a look at the current state of art periodicals.
VICTORIAN ART AFLAME
by Joanna Shaw-Eagle 3/4/97
Sexuality is the dominant theme in "The Victorians: British Painting in the Reign of Queen Victoria, 1837-1901" at the National Gallery of Art in Washington, D.C.
FIONA RAE: RETRO MEETS ROCOCO
by David Cohen 2/26/97
A leading light of London's Cool School, Fiona Rae achieves a painterly exuberance that is icily nonchalant and positively scorching.
THE OUTSIDER ART FAIR
by Alan Moore 2/25/97
Still the proprietary creature of dealers and collectors, is the "outsider" artist the only hope for visionary art or a cultural producer who is entirely unresistant to commodification?
CONFERENCE CALL: The College Art Association Meets in New York
by Suzaan Boettger 2/24/97
In his convocation address to the CAA, Metropolitan Museum director Philippe de Montebello took a surprisingly conservative position, arguing that we should emphasize the art's mystery rather than its demystification.
EARL CUNNINGHAM: CARIBBEAN FLAVOR, YANKEE VALUES
by Alan Moore 2/21/97
The folk artist Earl Cunningham was a hobby painter whose commitments were first to labor, then to trade.
EVERY ACTION IS POLITICAL AND SPIRITUAL: An Interview with Willie Cole
by Jacqueline Brody 2/20/97
The former editor and publisher of the Print Collector's Newsletter speaks with New Jersey artist Willie Cole, who mines his African heritage to make art works--including a new print, our focus here--that are loaded with fact and myth.
DISPATCHES: LATE DE KOONING
by Michael Klein 2/19/97
At the Museum of Modern Art, a group of works from the twilight of the artist's life seem overcome by an uncharacteristic leisureliness and even serenity--and references to nature are everywhere.
THE PHOTOMONTAGES OF HANNAH HOCH
by Rosanne Altstatt 2/13/97
A touring U.S. retrospective surveys the work of a pioneering feminist artist.
MITCHELL ALGUS: REANIMATOR
by Mary K. Weatherford 2/12/97
An interview with the SoHo gallerist whose interest in now-forgotten art stars of the 1960s has proved to be on the cutting edge of historical collecting.
CHTHONIC YOUTH: A STUDIO VISIT WITH MARILLA PALMER
by William McCollum 1/31/97
YOU CAN ONLY TAKE WHAT YOU ALREADY HAVE: JAN VERCRUYSSE
by Michael Brennan and Bill Sullivan 1/23/96
by Robert Goldman 1/21/97
PANELMANIA: LIFE SAVORS
by Suzaan Boettger 1/21/97
What role should an artist's biography play in the analysis of his or her art? The question was addressed at two New York panel discussions, one by biographers and the other by women artists.
THE MAGAZINE RACK
by Patterson Beckwith 1/15/97
Better late than never, selections from the October and November art magazines, by our resident reader.
DIARY OF A NEW YORK PANELMANIC
by Suzaan Boettger 1/7/97
A pick of the fall's art panels, with appearances by Mary Jane Jacob, Krzysztof Wodiczko, Chuck Close, Marcia Tucker, Donna De Salvo, Elaine Reichek, Eric Gibson, Graham Nickson and many more.
THE ARTIST OBSERVED: PORTRAITS BY JOHN GRUEN
A selection of black-and-white portraits of artists by the photographer, dance critic and art writer John Gruen, presented on the occasion of an exhibition at Earl McGrath Gallery in New York.
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