peter schjeldahl 1998 archives
FAREWELL COLUMN
by Peter Schjeldahl 10/22/98
Peter Schjeldahl says goodbye to the Village Voice.
TOUCHING THOMPSON
by Peter Schjeldahl 10/19/98
Bob Thompson at the Whitney Museum of American Art.
AB EXALTATION
by Peter Schjeldahl 10/2/98
Mark Rothko at the Whitney Museum of American Art.
GIRLY GROTESQUERIE
by Peter Schjeldahl 9/25/98
Lisa Yuskavage at Marianne Boesky Gallery in New York.
STRANGE DAYS
by Peter Schjeldahl 9/17/98
Why Surrealism now? "Julien Levy" at Equitable Gallery.
GEHRY IN GEAR
by Peter Schjeldahl 8/28/98
New York needs a Gehry museum.
THE PROPHET
by Peter Schjeldahl 8/13/98
An esthetic visionary whose prophecies came true -- Tony Smith at MoMA.
FIRE THE BOSS
by Peter Schjeldahl 8/5/98
Pipilotti Rist wuz robbed.
MILITANT MILDNESS
by Peter Schjeldahl 7/30/98
A new cohort of consumers reflected in summer group shows at D'Amelio Terras, Matthew Marks, Pat Hearn and Spencer Brownstone.
THE MASTER BATHER
by Peter Schjeldahl 7/27/98
Pierre Bonnard at the Museum of Modern Art.
THE REVOLUTIONARY
by Peter Schjeldahl 7/16/98
At the Museum of Modern Art, a long-awaited retrospective of Aleksandr Rodchenko.
PURE ARTIFICE
by Peter Schjeldahl 6/24/98
A spare, powerful survey of work by L.A. artist Charles Ray.
ULTRALOUNGERIE
by Peter Schjeldahl 6/18/98
Hip new painting at Deitch Projects and Max Protetch.
THE X FACTOR
by Peter Schjeldahl 6/4/98
A pocket retrospective focuses on Marsden Hartley's spirituality.
THE SOCIAL COMEDIAN
by Peter Schjeldahl 5/28/98
In Robert Colescott's paintings, crazy energy from crude iconography.
THE JAZZ PAINTER
by Peter Schjeldahl 5/7/98
In the paintings of Chaim Soutine, life stands at full flood.
ACADEMIC GROOVES
by Peter Schjeldahl 5/4/98
The Dahesh Museum provides a backstage look at academic art.
PERMANENT WHITNEY
by Peter Schjeldahl 4/22/98
The Whitney Museum's new permanent collection galleries provide a dawning epiphany of painting's power to reinhabit dead-brain imagery.
LAS VEGAS ROCOCO
by Peter Schjeldahl 4/16/98
Tony Cragg's new work is wildly subjective and coolly objective.
20TH-CENTURY STRAND
by Peter Schjeldahl 4/3/98
Photography becomes modernist in the early work of Paul Strand.
A GUY THING
by Peter Schjeldahl 3/25/98
The mania for identification, bureaucratic and artistic.
MARY REBOP
by Peter Schjeldahl 3/20/98
Sincere ideals of abstract art played like computer games.
THANKS FOR PAINTING
by Peter Schjeldahl 3/12/98
Confident new works entrusted to rhythms of lived life.
MAN OVERBOARD
by Peter Schjeldahl 2/25/98
Leger became a sign painter for the spiritual department store of modernity.
DUMB AND SMARTER
by Peter Schjeldahl 2/20/98
George Condo's new show is like a cheeseburger with everything.
LOST IN THE TERRAIN: ANSELM KIEFER
by Peter Schjeldahl 2/12/98
Simultaneous extremes of epic and lyric, grand and humble, transcendent and workaday.
WONDERFUL CYNICISM: JOHN BALDESSARI
by Peter Schjeldahl 2/5/98
At Sonnabend Gallery in New York, photo works considered less as brainy critique than as decorative accessory.
GREENBERG AGAIN
by Peter Schjeldahl 1/29/98
Color Field revisited, via Frankenthaler at the Guggenheim and "Green Mountain Boys" at Emmerich.
TEENARAMA: RITA ACKERMANN
by Peter Schjeldahl 1/22/98
New work by a magpie stylist on themes of adolescent joy, pain and effrontery.
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