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Irene V. Small’s Hélio Oiticica: Folding the Frame and Elena Shtromberg’s Art Systems: Brazil and the 1970s offer complementary perspectives on the postwar Brazilian avant-garde. At first, they have much in common, with key terms such as “art as social system,” “art as language,” “art as communication,” and “art and politics.” Both also propose a new social-art history, which posits the artwork as a gateway onto knowledge. Small’s innovative monograph presents Hélio Oiticica’s work from the late 1950s to the mid-1960s, highlighting folding, diagramming, coloring, and the body as object as four foundational artistic procedures in four chapters,… Full Review

Lynette Yiadom-Boakye: Verses After Dusk was released on the occasion of the British painter’s 2015 solo exhibition at Serpentine Gallery. The compendium features Yiadom-Boakye’s stunning painterly and writerly interrogations of fictional characters and black figures in her paintings, etchings, short stories, poems, and essays, along with texts by artist Glenn Ligon, critic Hilton Als, and the exhibition’s organizer, Amira Gad. Verses After Dusk asks readers and viewers to unravel the conventional architecture around what it means to represent a body in space; to convey personhood in the form of a portrait; and to take on the psychological, cultural, and social… Full Review

The spectacular new Opera del Duomo Museum in Florence, Italy, which opened on the fall of 2015, is in a very real sense a twenty-first-century manifestation of two closely associated late eighteenth-century European cultural and intellectual accomplishments. The remarkable invention of the public museum is deeply connected to the development of art history as an independent academic discipline. Both are manifestations of the Enlightenment belief that the appreciation of art might shape moral and ethical character, that people’s lives might be improved and transformed by experiencing art. This Kantian notion found a practical application by Johann Joachim Winckelmann in his… Full Review

Existing African arts and cultures scholarship’s disproportionate attention on how twin births constitute a problem to parents and community is challenged in Twins in African and Diaspora Cultures, as the volume takes a dialectic approach to show how twins embody ambiguity. The subtitle, “Double Trouble, Twice Blessed,” foregrounds this premise. In several African cultures, twins are viewed through the prism of complementary duality, which is fundamental to African belief systems and worldviews. The various essays in the volume capture this double meaning. Twins are viewed in both positive and negative lights; as a source of antagonisms but also harmony… Full Review

Peruvian Featherworks: Art of the Precolumbian Era, edited by Heidi King, is an important contribution to a profoundly complex yet largely overlooked artistic genre: Andean featherwork. While feather mosaics from Mesoamerica have received much scholarly attention and praise, featherwork of the Andes has largely been ignored. In a review of The Arts in Latin America, 1492–1820 (click here for review) at the Los Angeles County Museum of Art in 2007, Suzanne Muchnic noted that “in the world of art, feathers are regarded with a certain kind of dread . . . feathers are trouble” (Suzanne Muchnic, “The… Full Review

Is interiority a place or a state of mind? According to Ewa Lajer-Burcharth and Beate Söntgen, the editors of Interiors and Interiority, we are wrong to pose the question as “either-or”; even “both-and” is an insufficiently capacious answer. Backed up by twenty-two essays, mostly by German and U.S. scholars, Lajer-Burcharth and Söntgen argue that the relationship between interiors and interiority is not limited to private spaces and individual psychology but engages just as ineluctably with complex dynamics of performativity, cultural mobility, technology, and material agency. Such an encompassing topic must hold, at the same time, an uncertain status, as… Full Review

Unknowingly, many of us have likely come into contact with some of the primary products of China’s Dafen village: handmade oil paintings, which resemble Vincent van Gogh’s Sunflowers (1888) and other “masterworks,” that hang in hotels, restaurants, and homes, and are sold online and in souvenir shops, galleries, and chain stores around the world. Located in Shenzhen, a megacity across from Hong Kong and the People’s Republic of China’s first Special Economic Zone, Dafen has heretofore been known mostly to outsiders—if at all—through sensationalist news coverage. Winnie Won Yin Wong’s Van Gogh on Demand: China and the Readymade not only… Full Review

The Smithsonian Institution’s National Museum of African American History and Culture (NMAAHC) has engaged the public through its online and social media presence and by producing and collaborating on exhibitions and books that showcase visual and audio materials from its collections since 2007. Much of this material is from the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA), a physical and virtual center that collects, promotes, and preserves African American visual and aural culture. The museum’s new multi-volume book series, Double Exposure, is a welcome means of sharing selections from CAAMA’s photography collection of over… Full Review

This ambitious study originated in 2007 as Mantha Zarmakoupi’s Oxford University DPhil thesis. Several years of further research have allowed her to develop her ideas and deepen her bibliographic research on the archaeology and architecture of Roman villas and the cultural life that villas framed. She aims, in brief, to examine “the ways in which Romans conceptualized the architectural design of luxurious villas in order to accommodate a life of educated leisure in the countryside” (1). In doing so she recapitulates and extends a now-familiar narrative of the ideology, architecture, and social functions of such establishments, a narrative based on… Full Review

The conviction and vitality with which Shannen L. Hill explores visual culture as an agent of change shaped by Black Consciousness (hereafter, BC) and embodied in ideas and images of its leading advocate, Stephen Biko, took me back to late 1980s South Africa when I, a bright-eyed freshman, optimistically threw myself into the student liberation movement at the University of the Witwatersrand in Johannesburg. There I and others designed, printed, and carried protest posters informed by an aesthetic that Hill traces to late 1960s BC student activism. At the time I was unaware of the historical roots of this visual… Full Review