Recently Published Reviews

In Howardena Pindell: Reclaiming Abstraction, the first monograph devoted to the artist, activist, and MoMA curator, Sarah Louise Cowan focuses on Howardena Pindell’s paintings and collages made between the late 1960s and early 1980s, underscoring her forays into sculpture and video along the way. In doing so, Cowan traces the artist’s ambivalent exploration of modernist form. Teasing out Pindell’s alignment with and strategic revisions of all-over painting, the grid and surface treatments, Cowan ultimately unspools modernist grammar from the narrow, yet nevertheless dominant history of midcentury abstraction developed within mostly white male artistic enclaves. In turn, modernism as a… Full Review

In 1907, the Chicago heiress Hortense Mitchell Acton and her British husband, Arthur Acton, bought La Pietra, a Renaissance villa in the hills outside Florence, as a home where they might live surrounded by their growing art collection. Among the many treasures they gathered within its walls were eight sixteenth-century terracotta sculptures of religious subjects, examples of a type of decorative object commonly found within Florentine Renaissance homes. The works were made independently of one another by different artists and only assembled as a group by the Actons in the twentieth century. Nearly all stand under two feet high, and… Full Review

The paradox of Monochrome Multitudes is more than titular: Of multitudes there are many, as all but one of the galleries of the Smart Museum are taken up by this ambitious review of the outsized genre. Indeed, much of the work is not truly singular in color at all but tinted, toned, or shaded within a hue, if not outright multicolored. To account for the coming cacophony, we are made to understand at the outset that the exhibition aims to revisit “this notoriously hermetic art to reveal its creative possibilities and complicate its histories” without attempting a comprehensive survey. In… Full Review

Most people tempted by the title of this book probably know something about choir screens, especially those in Florence. We, as the author acknowledges, all owe a profound debt to Marica Hall’s work on Santa Croce and Santa Maria Novella, initially presented in Renovation and Counter-Reformation: Vasari and Duke Cosimo in Sta Maria Novella and Sta Croce (Oxford University Press, 1979). Her explanations for the dismantling of the screens in those two Florentine mendicant churches has shaped our collective understanding of Florentine tramezzi. Joanne Allen’s new book expands exponentially on that topic. She outlines the history, function, and meaning… Full Review

Curated by Carla Acevedo-Yates with Iris Colburn, Isabel Casso, and Nolan Jimbo, Forecast Form: Art in the Caribbean Diaspora, 1990s–Today at the Museum of Contemporary Art Chicago presents the Caribbean diaspora not as a given, but as a framework for critiquing the homogenizing consequences of categories imposed upon its makers and their visual practices. As Acevedo-Yates declares in her catalog essay, Forecast Form seeks to “challenge the very legibility of so-called Caribbean art itself—what it is, how it looks, and who makes it” (24). Commencing its reframing of the Caribbean, the exhibition starts in the fourth-floor lobby with two large-scale… Full Review

This book examines the all too unusual case of the sculptor Luisa Roldán (1652–1706), who successfully navigated the challenges of being a woman artist in early modern Spain. The role of women in art throughout Europe during the seventeenth and eighteenth centuries has been under-researched until recently. Spanish art too, has remained less well known or studied in the Anglophone world, compared with Italian art. Sculpture in Spain, which in this period was generally polychromed, has only lately begun to attract the attention it deserves. Catherine Hall’s book provides a welcome new contribution to all these fields. In it, she… Full Review

Author’s note: Historical terminologies of racial classification, including “Black” and “Coloured,” which were instantiated by the Population Registration Act of 1950, in South Africa, are used throughout Berger’s book so as not to erase the violence of policies enacted under apartheid. Maid in Uniform, a 1955 portrait of a Black South African domestic worker, is arguably one of the strongest works by painter Irma Stern (1894–1966). Dressed in the uniform typical of her profession, Stern’s defiantly unwilling subject purses her lips and crosses her arms; her eyes demur from the viewer. The maid’s expression signals the complex social relations… Full Review

What happens after the initial creative act? In her introduction to The Long Lives of Medieval Art and Architecture, Jennifer Feltman calls attention to the fact that art historical writing since Vasari’s Lives of the Most Excellent Painters, Sculptors, and Architects has typically prioritized the time of a work’s creation, and instead situates the case studies included in the edited volume in the time between then and now. The book makes the case that works we now label “medieval” are never exclusively so, as they have been transformed in later years, whether materially, semantically, or both. Overall, the collection… Full Review

David Ekserdjian describes his new and important book, The Italian Renaissance Altarpiece: Between Icon and Narrative, as a work of “almost demented ambition” (6). The description is apt. A thorough introduction, seven chapters, a conclusion, two appendices, and the usual scholarly apparatus adds up to just over 400 pages of tightly-packed, double-columned text. And that text sets out to provide an almost encyclopedic account of the most frequently produced type of art object in Renaissance Italy. Accordingly, the author references “well over a thousand” (61) works of art. These involve the whole of the Italian peninsula, date from circa… Full Review

Fourteen years after the University of Iowa’s art museum experienced a catastrophic flood, the museum has reopened—relocated in a new building on higher ground. In the summer of 2008, the rising Iowa River threatened not just the basement storage areas of the original building but even the art hanging on its walls, including Jackson Pollock’s Mural (1943) and one of the largest collections of African art in the nation. The museum staff, joined by professional art handlers and volunteers from across the state, had just six days to evacuate the building of 14,000 works of art. Ultimately the building was… Full Review

Rivaled only by Mexico as a center of artistic modernism in the Americas, Brazil, with its wealth of innovative architecture, landscape design, urbanism, painting, sculpture, and performance art, has long attracted the attention of Anglophone scholars and curators. Apart from survey texts, architecture and the other arts have generally been treated separately, in both exhibitions and monographs, which have typically focused on a single person or phenomenon, or positioned Brazilian examples as part of a geographically broader study. Adrian Anagnost, however, brings the country’s arts into dialogue during the pivotal decades from the mid-1920s through the 1960s in Spatial Orders,… Full Review

Adele Nelson’s new book is a significant contribution to the literature on twentieth-century Brazilian art and culture. Brazil has been central to art historical research in the last two decades, and numerous scholars, both international and Brazilian, have turned their attention to the art produced in the immediate postwar period, a moment when the foundation of the São Paulo Bienal and a surge of museum building transformed the artistic landscape in the country. Nelson’s study is groundbreaking in several ways: it challenges the dominant narrative that the emergence and evolution of abstraction in Brazil was tied primarily to a quest… Full Review

After a searing year of fire and drought along Colorado’s Front Range, the one-person show, Clarissa Tossin: Falling from Earth, opened in June 2022 at Denver’s Museum of Contemporary Art (MCA) for a three-month run. The Brazil-born artist has built a collaborative research-focused practice from her base in Los Angeles that addresses connective tissue that links place, history, and aesthetics. Employing moving images, installation, and sculpture, she explores their alternative narratives in both built and natural environments of extractive economies. Whether reinserting figurative traditions and ritual practices of Mayan motifs in early twentieth-century Los Angeles architecture, as… Full Review

Over the last five years, solo exhibitions of leading Indigenous artists have moved into mainstream museums and galleries. In tandem, these artists’ works are finally appearing in permanent collection galleries in this country as recognition of the important dialogues Native American artists continue to raise for the field, particularly about the legacies of settler colonialism, the impacts of climate change, and the continued fight for Indigenous sovereignty. Artist Rose B. Simpson is part of this critical shift. Her sculptures are now on permanent view across the United States, from the Peabody Essex Museum in Salem, Massachusetts, to the Autry Museum… Full Review

Although architectural drawings were made before the Renaissance, the increasing availability of paper in late fifteenth- and early sixteenth-century Europe had a profound influence on the tools and processes of architectural design. Paper was economical, flexible, portable, and an efficient medium for capturing ideas quickly and for conveying elaborate and complex ideas about masses and volumes in visual terms. But architects did not abandon centuries-old tools overnight, and throughout the Renaissance, drawings continued to be made with a variety of media and for diverse purposes. Generations of modern historians, however, have given primacy to drawings on paper and have studied… Full Review