Retrospective


Crime Retrospective The Knoedler Affair
Stereoscopic image of M. Knoedler & Co., ca. 1860–90. VIA WIKIMEDIA COMMONS

Wiretappers and Art Galleries: The Other Knoedler Trial, in 1956

Many are now familiar with the much-publicized Knoedler trial, which, as M. H. Miller wrote in a recent article published in these pages, “unearthed one of the greatest scandals the art world has ever seen and laid bare the chain … Read More


Retrospective
COURTESY MAGNUS

‘Can Computers Be Programmed to Appreciate Art?’: The Machine as Viewer, in 1977

With the recent release of Magnus, an app that can recognize artworks using visual data, we turn back to the Summer 1977 issue of ARTnews, in which the editors wondered if it was possible for a computer to appreciate art. “Would there … Read More


Retrospective
Margaret Harrison, Homeworkers, 1977. ©MARGARET HARRISON/TATE, PURCHASED 2011

‘Well-Edited Memorials of Wanderlust’: A Brief History of British Conceptual Art

In honor of Tate Modern’s survey of British Conceptual art, “Conceptual Art in Britain 1964–1979,” which opened earlier this week, below are excerpts of reviews from the ARTnews archives. All of the artists discussed are included in the show, which … Read More


Retrospective
David Hammons, A Movable Object, 2012. ©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY/

‘He Nudges the Sacred Liberal Cows of Assimilation’: A Brief History of David Hammons

With David Hammons’s 50-year career being surveyed at New York’s Mnuchin Gallery, many critics have taken the opportunity to reflect on the artist’s work, which has often dealt with racial and economic inequities, both in the art world and in … Read More


Retrospective
Edgar Degas, Autumn Landscape, 1890, monotype in oil on paper. PRIVATE COLLECTION

The Landscape Painter Degas Might Have Been: Theodore Reff on an Unseen Side of the Impressionist, in 1976

Many visitors to the Museum of Modern Art’s show “Edgar Degas: A Strange New Beauty” will probably come for the French Impressionist’s paintings of ballet dancers, but they’ll also get a look at a less-known aspect of Degas’s work: his landscapes. For … Read More


Retrospective
Henri Rousseau, La Rêve (The Dream), 1910. ©2016 SCALA, FLORENCE/DIGITAL IMAGE: MUSEUM OF MODERN ART, NEW YORK

‘He Produced Masterpiece After Masterpiece’: Max Weber Remembers Henri Rousseau, in 1942

With the Musée d’Orsay’s exhibition “Le Douanier Rousseau: Archaic Candor” having opened this week, we turn back to the February 15, 1942, issue of ARTnews, in which the American Cubist painter Max Weber remembered his friend Henri Rousseau. (The French … Read More


Retrospective
The Met Breuer, the Metropolitan Museum of Art's annex for modern and contemporary art, opens today.COURTESY METROPOLITAN MUSEUM OF ART

‘In the Spirit of the Present Day’: The Met Gets Modern With a Major Donation of 19th-Century Painting, in 1930

Today the Metropolitan Museum of Art opens the Met Breuer, its hotly anticipated annex for modern and contemporary art. Many have seen the Met Breuer as a way of bringing the Met up to date, making it an encyclopedic museum … Read More


Retrospective
Eva Hesse, Aught, 1968 (wall); and Augment, 1968 (floor), at Hauser Wirth & Schimmel's "Revolution in the Making: Abstract Sculpture by Women, 1947–2016." AUGHT: COLLECTION OF UNIVERSITY OF CALIFORNIA, BERKELEY; AUGMENT: PRIVATE COLLECTION/BRIAN FORREST/COURTESY THE ARTIST AND HAUSER WIRTH & SCHIMMEL

‘She Was Piecing Together a New Kind of Expressionism’: Kim Levin on Eva Hesse, in 1973

This Sunday, Hauser Wirth & Schimmel inaugurates its new Los Angeles space with “Revolution in the Making: Abstract Sculpture by Women, 1947–2016.” The show runs the gamut, from Ruth Asawa to Sonia Gomes, creating what seems to be a historical … Read More


Armory Week 2016 Retrospective
The 2015 Armory Show. COURTESY THE ARMORY SHOW

Intelligent Interest in American ‘Moderns’: An Armory Show Competitor Arises, in 1916

‘The exhibition will represent the largest collection of the new art works ever shown in this country, with the exception of the Armory show’ Read More


Artists Retrospective
02-16_Retro_Munch-slider

Subjective, Dynamic, and Religious: On the ‘Practically Unknown’ Artist Edvard Munch and German Expressionism, From 1950

In honor of “Munch and Expressionism,” which just opened at the Neue Galerie in New York, we turn back to the May 1950 issue of ARTnews, which featured an article that, coincidentally, has the same title. Written on the occasion … Read More


Retrospective
Serge Charchoune, Petite Composition Musicaliste, 1945. COURTESY HANINA FINE ARTS, LONDON

A Gentle Paris Painter of Another Age: William N. Copley on Serge Charchoune, in 1960

In honor of the Menil Collection’s William N. Copley survey, which opened today and is subtitled “The World According to CPLY,” we turn back to the March 1960 issue of ARTnews, which featured a profile of the painter Serge Charchoune … Read More


Retrospective
Installation view of "Electronic Superhighway (2016 – 1966)" at the Whitechapel Gallery. STEPHEN WHITE

To Take a Computer as an Apprentice: A Look at When Art Met Technology at LACMA, in 1971

With so many shows about art and the Internet lately, it’s hard to remember a time when it was unexpected that artists would ever rely on machinery and electronics, but, in 1971, when the Los Angeles County Museum of Art opened … Read More


Retrospective
Installation view of the Robert Ryman survey, currently on view at Dia Art Foundation. ©ROBERT RYMAN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/BILL JACOBSON/COURTESY THE GREENWICH COLLECTION, LTD./DIA ART FOUNDATION, NEW YORK

Double Positive: Carter Ratcliff on Robert Ryman’s Meditative Monochromes, in 1971

In honor of a survey of his paintings at the Dia Art Foundation in New York, below is a 1971 essay about Robert Ryman’s white-on-white paintings. Written by Carter Ratcliff, the essay questions how Ryman’s work can be categorized. Are … Read More


Retrospective
Eduardo Mac Entyre, Seis Formas en Dos Circunferencias (Six Forms in Two Circumferences), 1966, oil on canvas. (Click to enlarge.) COLLECTION OAS AMA | ART MUSEUM OF THE AMERICAS

‘Op Is Out-of-Town Art’: Thomas B. Hess on MoMA’s Show ‘The Responsive Eye,’ in 1965

This February marks the 50th anniversary of MoMA’s 1965 show “The Responsive Eye,” the exhibition that formalized Op art as a movement, albeit a short-lived one. Curated by William Seitz, the show caused a media frenzy—mainstream publications covered the show’s … Read More