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With the objective of freeing the art of British artists of African, Asian, and Caribbean descent, known as “black British artists,” from its historically racialized silo, Leon Wainwright’s new book, Phenomenal Difference: A Philosophy of Black British Art, sets out the author’s ambitious project: to bring the philosophy of phenomenology to bear upon these artworks. This book is theoretically well-grounded, and Wainwright has clearly spent a great deal of time contemplating Martin Heidegger and Maurice Merleau-Ponty, as well as Roland Barthes, Mikhail Bakhtin, and Jacques Derrida, among others. However, he has also been in dialogue with scholars and critics… Full Review

Wölfflin and the Promise of Anonymity From a certain perspective, it is unclear why art history needs a new translation of Heinrich Wölfflin’s The Principles of Art History: The Problem of the Development of Style in Early Modern Art. There are a range of other foundational documents of the discipline that have yet to receive even a first hearing. Moreover, the M. D. Hottinger translation of the text is in print and widely available, and retains much of the elegance, if not the letter, of Wölfflin’s  prose. I gather, too, that readers of the new hundredth-anniversary edition are hardly gravitating… Full Review

Leigh Raiford and Heike Raphael-Hernandez have done a great service to the field of visual culture studies with the publication of Migrating the Black Body: The African Diaspora and Visual Culture. They have brought together an important collection of recent essays on the eponymous themes and topics, but they have also produced with this volume (stemming from a 2014 VolkswagenStiftung-sponsored symposium in Hanover, Germany) a nodal point in the broadening network of intellectual activity concerned with questions of blackness and the visual among academics and artists, from the emerging to the established. This rich scholarly collection bridges the gap… Full Review

The Gothic Screen contributes to the body of integrative studies of Gothic art and architecture with an examination of the monumental choir screen that stood between the liturgical choir and the nave and ambulatory. Not a comprehensive catalogue of Gothic screens, the book seeks to “expand our sense of what screens accomplished in their ecclesiastical setting,” which is here understood as “both the physical setting of the Gothic church and the social environment that the church shaped” (2). In this vein, Jacqueline Jung focuses attention on how a screen’s architectural design and sculptural program forged community and structured identity among… Full Review

Critics lamenting the sorry state of today’s built environment are legion. Only a few recognize that many of those responsible for this situation are members of a professional and academic establishment that emerged during the past quarter century, virtually controlling the discourse in the design professions throughout the world. Sarah Williams Goldhagen, a distinguished architectural historian who taught at Harvard for ten years and was the architecture critic at the New Republic for eight, begins her new book by suggesting that she is one of these enlightened few. In previous books about Louis Kahn’s monumental architecture and Moshe Safdie’s global… Full Review

EN MAS’: Carnival and Performance Art of the Caribbean was published in conjunction with the launch of a traveling group exhibition showcasing the work of nine contemporary artists, each from the circum-Caribbean or its diaspora: John Beadle, Charles Campbell, Christophe Chassol, Nicolás Dumit Estévez, Marlon Griffith, Hew Locke, Lorraine O’Grady, Ebony G. Patterson, and Cauleen Smith. The artists were commissioned to create performance works in public spaces in cities with active carnival traditions, from Nassau, Bahamas, and Port of Spain, Trinidad, to Notting Hill, London, and New Orleans, Louisiana. The catalogue features archival documentary traces of each performance using photographs… Full Review

Beholding Christ and Christianity in African American Art, edited by James Romaine and Phoebe Wolfskill, offers a unified and underexamined perspective on artwork by late nineteenth- to mid-twentieth-century African American artists. Each of the fourteen chapters showcases a selected artwork by an individual artist, highlighting how “engagement with religious subjects, symbols, or themes can be an expression of an array of concerns related to racial, political, and socioeconomic identity” (3). From neoclassical sculptor Mary Edmonia Lewis, modernist painters Aaron Douglas, William H. Johnson, Jacob Lawrence, Archibald Motley Jr. and others, to self-taught artists like William Edmondson, the case studies… Full Review

In Untitled (Mirror Girl) (2014), a young woman, voluptuous, luxuriating in her nudity, strikes a pose in front of her star-trimmed mirror. She holds her breasts in her hands to emulate a magazine spread, and she is stunning. An assortment of clothes and shoes decorate the floor beneath her, their colors and textures rhyming with the geometrical patterns across the rug and wallpaper. A cat sits quietly in the background, creating a collage effect—a technique Kerry James Marshall has used throughout his career. An eroticized charge emanates through the woman’s open gaze, and the conditions of the room, where surfaces… Full Review

Anna Dezeuze’s ambitious book Almost Nothing: Observations on Precarious Practices in Contemporary Art establishes a lineage for work from the 1990s and the first decade of the 2000s that engages with the issue of precariousness. Dezeuze compellingly argues that, beginning in the late 1950s, artists began to mine a conceptually fertile vein of lived experiences at the margins—whether actual or assumed. She understands the term “precarious” as established by the artist Thomas Hirschhorn—whose works of the 1990s and the following decade are considered in the book’s introduction and later chapters—as having to do with human actions and decisions and thus… Full Review

Last year saw the publication of two excellent books about William Kentridge, the first of which accompanied an exhibition of his work, paired with that of fellow South African artist Vivienne Koorland, curated by Tamar Garb at the Fruitmarket Gallery in Edinburgh. The three met in Cape Town the mid-1970s (Koorland painted Garb’s portrait in 1977), and it was Garb’s long relationship with Kentridge and Koorland that inspired her to curate the show. In the catalogue’s introductory essay, Garb expertly weaves together the shared themes the two artists explore in their work. She begins with a comparison of Koorland’s PAYS… Full Review