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The aim of Higher States, as explained in the preface, is “to be a richly illustrated resource on the first half of [Lawren] Harris’s abstract painting career within a transnational context,” and the essays by Roald Nasgaard and Gwendolyn Owens describe “the social, intellectual, and aesthetic milieu in which Harris immersed himself, in both Canada and the United States, from the mid to late 1920s up to and about the end of World War II.” In “Harris’s Modernity: The Engineering Draughtsman’s Instruments,” Nasgaard employs a variety of ways to describe, explain, and define Harris’s modernism. He outlines the artist’s… Full Review

In the 1950s Norman Bel Geddes drafted his autobiography, I Designed My Life. His story covered the entirety of his vast career in one million words. Miracle in the Evening, the edited version published in 1960 two years following his death, focused solely on Bel Geddes’s theater work, simplifying his legacy to only one area of design. But in fact, there was hardly an area of design that Bel Geddes did not influence. As his point of view oscillated between futurist and pragmatist, Bel Geddes earned the title of “the father of industrial design” due to the success… Full Review

Henry Taylor: The Only Portrait I Ever Painted of My Momma Was Stolen, the first monograph on Henry Taylor, offers a near-encyclopedic visual record of his work. It is filled with almost two hundred large, glossy, full-color plates that feature carefully photographed gallery installations among beautiful reproductions of the paintings for which Taylor is best known. Paging through this record, readers will find that Taylor’s decades of practice have yielded a distinct form of modernism. The paintings’ thick lines, rich colors, and flattened planes come, in the artist’s own words, from a kind of “repurposed” Fauvism (132). His subjects… Full Review

“I’m obsessed with the exception. I see it as bigger than nature. It’s all I see. The rule interests me only for its leftovers with which I make my swill. In this way, I deliberately downgrade myself. Too bad for me” (102). This quote from Claude Cahun, drawn from Cahun and Marcel Moore’s 1930 publication, Aveux non avenus (Disavowals), appears about three-quarters of the way through Jennifer L. Shaw’s Exist Otherwise: The Life and Works of Claude Cahun. However, its resonance is deeply felt throughout this rich chronological biography of the French Surrealist artist, intellectual, and activist… Full Review

Gustave Caillebotte has long presented historians of nineteenth-century art with contradictions: here was a champion of and participant in the Impressionist movement who grew up with privilege and became, by dint of his father’s business acumen, a millionaire. Accounts of his artistic production (working from a scant archive) must always contend with how Caillebotte could produce paintings that look more naturalist than Impressionist and would seem to presage social critiques more common to later generations of artists, but that were executed from a position firmly ensconced in upper-class comfort. The desire to resolve these questions of the artist’s identity and… Full Review

Scholars are continually engaged in reassessing evidence, and if they are diligent and perceptive enough they discover new ways of seeing our world. Such is the achievement of Denise Murrell’s 2013 dissertation, “Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond,” written for the Department of Art History and Archaeology at Columbia University under the supervision of Professor Anne Higonnet. Three of Murrell’s other committee members—Alexander Alberro, Rosalyn Deutsche, and Kellie Jones—were drawn from the same department (with Jones also having a joint appointment in the Institute for Research in African American Studies). The final member… Full Review

“My art has been an act of confession.” So opens the preface to Gary Garrels, Jon-Ove Steihaug, and Sheena Wagstaff’s exhibition catalogue for Edvard Munch: Between the Clock and the Bed, which took place in San Francisco, New York, and Oslo from June 2017 to September 2018. Edvard Munch (1863–1944) made this comment toward the end of his life, which is significant since the paintings he produced in his later years formed the focus of the exhibition and its accompanying catalogue, the latter of which is the subject of this review. It may come as no surprise that Munch’s… Full Review

Shelley Drake Hawks’s The Art of Resistance: Painting by Candlelight in Mao’s China is a valuable contribution to Chinese art history and China studies that illuminates the plight of artists during the Cultural Revolution (1966­­–76). Hawks argues that in spite of overwhelming oppression, Chinese artists endured the Cultural Revolution by visualizing their feelings of disillusionment and dissent through art. The expression “painting by candlelight” (ix) refers to the unsanctioned, clandestine, and sometimes dangerous means artists took to create art—painting in secret, encoding works with subversive meaning, or writing Maoist poetry as a formalist rather than political pursuit. Lavishly illustrated and… Full Review

From the end of World War I to his death in 1954, Henri Matisse engaged in a number of notable experiments with the livre d’artiste. Kathryn Brown’s expansive study aims to show how Matisse’s artistic production and his thinking on creativity developed through an ongoing dialogue with literary texts, bringing to the fore the important role played by book production within the artist’s overall output. Through multiple fascinating case studies, Brown explores a range of intersecting questions about text-image interactions, about Matisse’s use of the book as an artistic-critical laboratory, and about the cultural importance of the illustrated book… Full Review

A picture of flickering bamboo leaves in a slick Shanghai magazine is carefully inscribed in Chinese characters as a “painting album” (huaben) and is impressed with an artist’s seal—not of a brush-and-ink painter, but of the photographer of the plant. A short story features a narrator who spots an earthen mound from a train window and imagines an Egyptian-style mummy of a royal concubine entombed within emerging to haunt the streets of Shanghai. A painting entitled Ruci Shanghai (Such is Shanghai) shows the city to be a montage of transparent, ghostly visages and body parts: eyebrows, lips, and… Full Review