Recently Published Reviews

Expressionism in Germany and France: From Van Gogh to Kandinsky examines the connections between the avant-garde art worlds in France and Germany in the years between the last decades of the nineteenth century and the outbreak of World War II, considering the influence of artists like Paul Cézanne, Vincent van Gogh, and Henri Matisse on German artists such as Ernst Ludwig Kirchner, Max Pechstein, and Franz Marc. To that end, the network of cultural exchange—exhibitions and their accompanying catalogues, visits by German artists to France and vice versa, dealers and critics who served to link the two art worlds—is a… Full Review

Soundings: A Contemporary Score was the first major exhibition of “sound” at the Museum of Modern art (MoMA), which Christopher Phillips once famously characterized as “the seat of judgment.” But it encompassed far more than the exhibited sixteen artists from ten countries. It was a large and integrated program of exhibition, films, sound performances, workshops, and lectures overseen by Barbara London, associate curator in the Department of Media and Performance Art, and curatorial assistant Leora Morinis. This review can merely outline some of these concerns by reducing the vast array of diverse impulses brought together into a few basic categories… Full Review

Deco Japan is a rambunctious assemblage of objects from the late 1920s and 1930s that evokes the excitement and instability of an era in which urbanization, international communication, global travel, mass-market consumerism, and the expansion of imperial ambitions were transforming the everyday lives and imaginations of millions, while spurring artists and designers in particular to rethink their art in relation to the new world that was taking shape around them. Curated and with an accompanying catalogue edited by Kendall H. Brown, the traveling exhibition had its longest run in Seattle, invited by the Seattle Asian Art Museum’s new curator of… Full Review

In the closing pages of his fine book Between the Black Box and the White Cube: Expanded Cinema and Postwar Art, Andrew V. Uroskie delivers a vivid explication of Ken Dewey’s multimedia project Selma Last Year (1966). With this work, Dewey proposes to redefine the social character of media through sophisticated interrelations of technology and live performance contingent to a viewer’s presence: “the act of spectatorship itself [was] staged” (226). The stakes of this staging are evidenced in the work’s radical reconfiguration from its first to its second iteration. The work was initially conceived as an exhibition of photographs… Full Review

This anthology stems from the Getty’s three-pronged publications program which, in addition to the museum, includes the Conservation and the Research Institutes. Going far beyond the catalogues of permanent collections or special exhibitions that are the more customary publishing outlets for museums, an extensive and variegated scholarly literature has been the result. The current volume focuses on the origins and early development of the major Continental and English art museums during the late eighteenth and early nineteenth centuries. With thirteen essays, mostly on individual examples, each by different specialists, the studies have in common their orientation toward the earliest phases… Full Review

While reading Catherine Coleman Brawer and Kathleen Murphy Skolnik’s splendid new book, The Art Deco Murals of Hildreth Meière, I thought—it’s time to go to Nebraska. For it is in its state capital, Lincoln, where one can see Meière’s extraordinary suite of mosaic murals done for the interior domes and floor of the state capitol. Completed between 1924 and 1932, the project catapulted Meière (1892–1961) to the status of one of the nation’s foremost mosaicists and architectural decorators. The primary focus of this excellent study is Meière’s Art Deco projects, which Brawer and Skolnik organize into various… Full Review

In late Renaissance Italy, prosperous individuals had the luxury of options when it came to such essential concerns as diet, dwelling, grooming, and sleep. Sandra Cavallo and Tessa Storey, the authors of Healthy Living in Late Renaissance Italy, look carefully at what Renaissance Italians did to preserve their well-being and at the medical arguments behind these determinations; in doing so, they furnish a key for understanding the behaviors, attitudes, and material culture of the period. A holistic study on this topic of preventative healthcare is long overdue. Cavallo and Storey’s remarkably diversified approach to the intersection between medical theory… Full Review

Donal Cooper and Janet Robson have given scholars, students, and general enthusiasts a long-needed tool for understanding and appreciating the decorative program in the Upper Church of the Basilica at Assisi. For decades, art-historical literature on the famous fresco cycle depicting the life of St. Francis focused almost exclusively on the Giotto/non-Giotto attribution question. What little had been published concerning the basilica’s patronage and iconography was either written in German or Italian and thus inaccessible to many, or else treated only particular themes within its decoration. This is not another book on Giotto at Assisi (thankfully). Instead, the authors successfully… Full Review

The Jungle (1943) no longer hangs by the coatroom of New York’s Museum of Modern Art, as John Yau once decried (“Please Wait by the Coatroom,” Art Magazine 63, no. 4 [December 1988]: 56–59), and no doubt the critical fortunes of Wifredo Lam have risen auspiciously over the past quarter-century. Lam scholarship surged in the 1990s and early 2000s amid a disciplinary climate in full flush of postcolonial revision and a continuing anthropological turn. From the exhibition Wifredo Lam and His Contemporaries, 1938–1952 (New York: Studio Museum in Harlem, 1992) to the publication of Lowery Stokes Sims’s definitive monograph, Wifredo… Full Review

Alien She, organized by and exhibited at the Miller Gallery at Carnegie Mellon University in Pittsburgh before opening at the Yerba Buena Center for the Arts in San Francisco, examines the influence of the feminist punk rock movement Riot Grrrl on artists working today. Curated by Ceci Moss and Astria Suparak, the exhibition presents archival materials (zines, mixtapes, music playlists, cassettes, fliers, t-shirts, video footage, and other ephemera) from the Riot Grrrl movement as well as work by seven contemporary artists whose “visual art practices were informed by their contact with Riot Grrrl,” according to the exhibition brochure. What… Full Review

In Performing China: Virtue, Commerce, and Orientalism in Eighteenth-Century China, 1660–1760, Chi-ming Yang contributes to the growing body of scholarship that reinvestigates and reconceptualizes the complex effects of Chinese taste on Western Europe (on England, see David Porter, Eugenia Zuroski Jenkins, Elizabeth Hope Chang, and Peter J. Kitson; on France, Christine A. Jones; on Italy, Adrienne Ward [to name only a few]; most recently in art history, see Stacey Sloboda, Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain, Manchester: Manchester University Press, 2014) (click here for review). Specifically, Yang joins the ranks of those who increasingly… Full Review

Published on the occasion of the exhibition Drapetomanía: Grupo Antillano and the Art of Afro-Cuba, this volume is on a mission. Grupo Antillano, a diverse group of artists and intellectuals, was active in Cuba between 1978–83—spanning the moment (1981) when the so-called “New Cuban Art” first rose to prominence. But while the latter movement has become the global face of contemporary Cuban art, the work of Antillano is all but unknown, whether on the island or beyond. With this ambitious exhibition and book project, curator, historian, and essayist Alejandro de la Fuente means to correct that omission. Grupo… Full Review

In Tim Youd’s recent solo exhibition and performance, The Long Goodbye, at the Museum of Contemporary Art in San Diego, visitors were able to hear the artist’s work before seeing it. It is a sound that most people will be familiar with, but haven’t encountered in a while. As one approached the museum’s Krichman Gallery, the staccato sound of the clacking keys of an Olivetti Studio 44 typewriter was audible before rounding the corner to take in the sparkling view of La Jolla Cove through the room’s generously sized glass windows. I have always admired the beach location of… Full Review

It seems fitting to approach a book about faces by starting with an examination of the publication’s own face, namely its cover. On first view of Hans Belting’s new book, Faces: Eine Geschichte des Gesichts, only the white and yellow letters of the title emerge clearly. A second look is necessary to make out the female figure located behind the text; it is a portrait of the famous U.S. photographer Lee Miller, taken ca. 1927 by Arnold Genthe. The young woman is slightly turned to the left, as she looks over her shoulder and away from the spectator’s gaze… Full Review

No eighteenth-century British artist had an output as wide-ranging and as versatile as William Kent (1685–1748). He worked for court, country, and city; his style encompassed the Palladian and the Gothic. Painting, sculpture, architecture, interior decoration, furniture, metalwork, book illustration, theater design, costume, and landscape gardening—he turned his hand to them all. His genius lay not in one form of artistic production, but rather in the way he combined them. He is credited as the first Englishman to design complete interiors, with pictures, furniture, and upholstery integrated into single coherent schemes (John Cornforth, Early Georgian Interiors, New Haven: Paul… Full Review