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The Los Angeles Public Library’s Central Library building (1924–33) in the city’s downtown has long been hemmed in by high-rise buildings. Their bland commercial anonymity makes it hard not to regard the library as the beloved elderly neighborhood dandy—one you feel sure could tell you some terrific stories about the old days. Kenneth A. Breisch’s beautiful new monograph aims to let the building do just that. It leads us first through the twists and turns that preceded the building’s construction and then through the political wrangling that accompanied its financing and even its design, its germination from idea to blueprint… Full Review

In her book Painting the Gospel: Black Public Art and Religion in Chicago, Kymberly N. Pinder uses religious imagery affiliated with black churches in the Bronzeville neighborhood of Chicago’s South Side as a case study to explore the ways that African American artists and pastors have collaborated to insist upon self-representation of and for their congregations. This short book manages to be very narrow and specific in its discussion of a handful of churches in one of Chicago’s traditionally black neighborhoods and simultaneously massive in scope as it traces the neighborhood’s religious-art production over the course of the twentieth… Full Review

Recently, I chaperoned some undergraduates visiting the Cleveland Museum of Art. As I was admiring the Jonah Marbles, a student rushed up in excitement, eager to tell me about an extraordinary work of embroidery. I followed her and immediately recognized it as a piece of white work from Altenberg an der Lahn. Thanks to Stefanie Seeberg’s excellent discussion of this and similar works in her Textile Bildwerke im Kirchenraum: Leinenstickereien im Kontext mittelalterlicher Raumausstattungen aus dem Prämonstratenserinnenkloster Altenberg/Lahn, I could explain that such textiles were not made to be white-on-white embroideries—but that they originally featured outlining in contrasting colors… Full Review

The editors of Resounding Images: Medieval Intersections of Art, Music, and Sound begin the volume with a brief review of some of the recent literature addressing medieval conjunctions of sound and image. The anthology that follows comprises sixteen case studies, each exploring specific intersections of the acoustic with the visual and the spatial. Several themes run through these essays. Many of the authors consider architecture in relation to the production and reception of sound, some stressing the selective control or regulation of sound. Silence is a recurrent topic. Others focus on manuscripts as the nexus for images, music, and text… Full Review

Party Like It’s 1989 What would the late provocateur and self-proclaimed “SlutForArt” Tseng Kwong Chi have made of the annual Met Gala paparazzi fest, particularly the opening of the blockbuster 2015 exhibition China: Through the Looking Glass? The much-blogged-about fundraiser—tickets cost $30,000 each and brought in $12.5 million that year—featured a star-studded roster of global celebrities, including Rihanna, Fan Bingbing, Justin Bieber, Kim Kardashian West, Jennifer Lawrence, Madonna, and so on, conjuring varying degrees of chinoiserie. The New York Times has called the event—held the first Monday each May on opening night of the Costume Institute’s annual exhibition—the “Oscars… Full Review

Rebecca Pinner examines the cult of the Anglo-Saxon king Edmund (d. 869) in the High and late Middle Ages. Exploring both textual proliferation—as she points out, more than thirty versions of his legend were created (2)—and visual representation, Pinner attempts to uncover how a king for whom only the sketchiest biographical details are recoverable became the subject of a “vast, elaborate cult” (5) by the end of the Middle Ages. She argues that the haziness of Edmund’s biography was the reason for extensive devotion to him, claiming that “ambiguity is precisely what led to Edmund’s popularity” (6). Relying on an… Full Review

Jan Lievens: Friend and Rival of the Young Rembrandt considers the early career of one of the Dutch Republic’s most beguiling artists, a painter-printmaker who worked for courts in The Hague, London, and Berlin but also practiced his craft for eight years in Antwerp and participated in Amsterdam’s grandest decorative program in the seventeenth century, the new Town Hall. Part gentleman painter à la Peter Paul Rubens, part hustler on a competitive market for art, Jan Lievens (1607–74) continues to intrigue scholars because of his constantly evolving style. The artist spent his first years as an independent master in Leiden… Full Review

We art historians have gained some familiarity with the independence-era history of the Democratic Republic of the Congo (DRC) from Raoul Peck’s acclaimed film Lumumba (2000) and from several published studies on the life and death of Patrice Lumumba, its first prime minister. A key publication is A Congo Chronicle: Patrice Lumumba in Urban Art, a catalogue for the exhibition of the same title presented at the Museum for African Art in New York, April 23–August 15, 1999. Evaluations of Lumumba inevitably incorporate the vicious, CIA-inspired conspiracy that led to Lumumba’s murder, pointing to his executioner… Full Review

The French eighteenth century, an era often derided and dismissed as frivolous and libertine, has been experiencing a revival by scholars in the last three decades, with the prolific artist Jean-Honoré Fragonard (1732–1806) occupying a singular position in the period’s rehabilitation. Fragonard has been the subject of at least four major monographic shows in the last three years—including the recent Fragonard: The Fantasy Figures (2017) at the National Gallery of Art and Fragonard Amoureux: Galant et Libertin (2015–16) at the Musée du Luxembourg. While his dazzling paint handling and prominent commissions—one thinks of The Progress of Love at the Frick… Full Review

“Where’s the poet?” Cy Twombly posed this question in a drawing he made in August 1960 while on the island of Ischia in the Gulf of Naples. Yet, as Mary Jacobus tells us in her new book, Reading Cy Twombly: Poetry in Paint, this is not merely the painter’s question but a quotation from an unfinished poem John Keats wrote in 1818. Furthermore, the borrowed Keats line is not alone in Twombly’s drawing. These words are accompanied by more text (the heading “Sonnet” and the phrase “mists of idleness”) as well as a grid of twelve numbered sections (with… Full Review