Browse Recent Exhibition Reviews

FROM THE ARCHIVE: This summer, caa.reviews is revisiting reviews that relate to the social issues of the present, at a time when the field is taking them up in renewed ways. Today we highlight Outcasts: Prejudice & Persecution in the Medieval World, a 2018 Getty exhibition reviewed by Patricia Blessing. Full Review

FROM THE ARCHIVE: This summer, caa.reviews is revisiting reviews that relate to the social issues of the present, at a time when the field is taking them up in renewed ways. This week we revisit the exhibition Per(sister): Incarcerated Women of Louisiana with Jillian Hernandez. Full Review

Writing in 1964, the Algerian painter Mohammed Khadda (1930–1991) identified “that day in 1910 when the Russian artist [Wassily] Kandinsky created the first nonrepresentational work” as marking the birth of “nonfigurative (or abstract) painting.” (Note: For the sake of consistency, I have used the exhibition curators’ transliteration of artists’ names.) Published in Révolution africaine, the National Liberation Front’s weekly newspaper, Khadda’s piece was the first of three artists’ statements titled “Éléments pour un art nouveau” (Elements for a new art), in which the authors grappled with the question of the role of the artist in the postindependence state. While… Full Review

The history of the Kamoinge Workshop, a group of Black photographers founded in 1960s Harlem, is documented and analyzed from multiple, beautifully blended perspectives in this important, substantial book. I had expected to study it after viewing the Virginia Museum of Fine Arts (VMFA) exhibition for which it serves as a catalog. However, shortly after the exhibition opened, the venue was closed to the public, another museum casualty of COVID-19. Louis Draper, the founding member and mainstay of the collective, wrote in his history of the workshop: “‘Kamoinge’ is derived from the Kikuyu [a language of Kenya]… Full Review

It is tempting for biographers of Leonardo da Vinci (1452–1519) to wax poetic about the artist’s supernatural talents and divine genius, but instead the Louvre’s blockbuster exhibition Léonard de Vinci offered a cerebral and technical approach to understanding the old master’s virtuosic oeuvre. Cocurated by Vincent Delieuvin, the Louvre’s curator of paintings, and Louis Frank, curator of drawings and prints, this much-anticipated retrospective coincided with the five-hundredth anniversary of Leonardo’s death. As stated in the wall text and accompanying booklet, the primary goal of the exhibition was to demonstrate “Leonardo’s revolutionary approach,” which “aimed to make painting a science encompassing… Full Review

When a midsize museum devotes its entire space to an exhibition by a recently hired curator, that’s a statement. In Plain Sight, at the Henry Art Gallery in Seattle, was organized by Shamim M. Momin, two-time curator of the Whitney Biennial (she co-organized the 2004 and 2008 editions) and founder of Los Angeles Nomadic Division (LAND), which generates site-specific installations in public spaces. Not only was In Plain Sight Momin’s first large-scale exhibition since she was brought on by the Henry as senior curator in the fall of 2018; it also displayed her long commitment to interdisciplinary… Full Review

Mark Dion is a self-described lover of stuff. His materials include broken buttons, vials of insects, antique toys, decaying trees. Shopping at flea markets and gleaning from his environs, he works intuitively. He relies on a certain duration with and proximity to “things” in order to find those that inspire. Indeed, Dion has come to “identify with the mission of the museum, where you go to gain knowledge through things.” He, like the museum, believes in the power of objects to inform and enrich, but his sculptures and installations question the authority of institutional knowledge production. Sometimes working at the… Full Review

The World between Empires: Art and Identity in the Ancient Middle East at the Metropolitan Museum of Art aimed “to shift the focus away from the two imperial powers [Rome and Parthia] and towards cities and communities, focusing on culture and religion, regional and local issues, and even personal matters” between the first century BCE and the third century CE (iv). The exhibition also aimed to engage “with complex questions about the preservation of cultural heritage.” These ambitious goals were explored through some 190 objects, from the Met’s collections as well as loans from Amman, Beirut, Berlin, Copenhagen, Jerusalem… Full Review

As curator Melissa E. Buron observes, the French artist James Tissot (1836–1902) does not fit the usual art historical labels (11). His work was in dialogue with a range of French and British art movements, including Pre-Raphaelitism, Impressionism, Aestheticism, and Symbolism (41, 44–45, 49). The Legion of Honor, Fine Arts Museums of San Francisco (FAMSF)’s monograph on Tissot, who lived in London from 1871 to 1882, challenges the national borders of the discipline. It reveals, for instance, that supposedly national artistic characteristics can be a matter of perception—Tissot’s work was considered too French for the British and too… Full Review

Opening in time for Epiphany 2020, the exhibition Balthazar: A Black African King in Medieval and Renaissance Art at the Getty Center in Los Angeles was the first exhibition at a major museum to examine the portrayal of the youngest of the Three Magi, Balthazar, as a black African king. (The exhibition adopted the phrase “black African” in acknowledgment of racial diversity across Africa. Medieval European terms were in contrast often vague, inaccurate, or pejorative.) Balthazar begins with a question: why, if early medieval legends describe Balthazar as a black African man, does it take nearly a millennium for him… Full Review