Critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies

Reviews in caa.reviews are published continuously by the College Art Association (CAA) and Taylor & Francis, with the most recently published reviews listed below. Browse reviews based on geographic region, period or cultural sphere, or specialty (from 1998 to the present) using Review Categories in the right-hand column, or by entering terms in the search bar above.

Recently Published Reviews

Okwui Enwezor, ed.
Exh. cat. 2 volumes. Venice: Marsilio Editori, 2015. 1054 pp. Paper $130.00 (978883172128)
Exhibition schedule: Venice, May 9—November 22, 2015
Picturing the World: Painting at the 56th Venice Biennale Plenty has already been written about the daily recitations of Karl Marx’s Das Kapital at the 56th Venice Biennale, a gesture that served to recapitulate our nervous twitching about art and money. Across the grand swath of global art on display, there were indeed many compelling moments pointing to capitalism as the hoary culprit in our world of excess and inequity. Typically, at the heart of such claims in relation to... Full Review
May 18, 2016
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Okwui Enwezor, ed.
Exh. cat. 2 volumes. Venice: Marsilio Editori, 2015. 1054 pp. Paper $130.00 (978883172128)
Exhibition schedule: Venice, May 9—November 22, 2015
Environmental Art at the 56th Venice Biennale The 2015 Venice Biennale, curated by Okwui Enwezor, focuses on the unpredictability and volatility of our historical moment, or what in another context Ulrich Beck calls the “risk society” (Ulrich Beck, Risk Society: Towards a New Modernity, London: Sage, 1992). As Michelle Kuo explains in an interview with Enwezor: “That is when the unintended side effects of modernization—technological, ecological—seem to be overwhelming the... Full Review
May 18, 2016
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Okwui Enwezor, ed.
Exh. cat. 2 volumes. Venice: Marsilio Editori, 2015. 1054 pp. Paper $130.00 (978883172128)
Exhibition schedule: Venice, May 9—November 22, 2015
Okwui Enwezor’s 2015 edition of la Biennale di Venezia, All the World’s Futures, opened with a somber installation on the facade of the Central Pavilion in the Giardini. At its summit, the striking words of Glenn Ligon’s neon marquee—“blues blood bruise”—announced themes of violence, suffering, death, and sorrow, as well as the role of music as a medium of collective resistance and power. Just below this sign, viewers confronted the Colombian artist Oscar Murillo’s series of black,... Full Review
May 18, 2016
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Los Angeles: Museum of Contemporary Art, Los Angeles, 2015.
Exhibition schedule: Museum of Contemporary Art, Los Angeles, March 20–June 28, 2015
William Pope.L: Trinket at the Museum of Contemporary Art, Los Angeles (MOCA), opened shortly after thousands took to the streets in protest of the Staten Island grand jury’s failure to convict the New York Police Department officer charged with Eric Garner’s death. While heightened media coverage of this and other social injustices resulting from racially motivated aggressions may have weighed heavily on those visiting the exhibition, it is unlikely that viewers would find aesthetic... Full Review
May 12, 2016
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Penelope Curtis and Chris Stephens, eds.
Exh. cat. London: Tate Publishing, 2015. 203 pp.; 131 color ills.; 72 b/w ills. Cloth $55.00 (9781849763318)
Exhibition schedule: Tate Britain, June 24–October 25, 2015
When speaking of modern landscape painters, John Ruskin argued that these artists see nature with “totally different eyes” and consequently offer spectators impressions rather than imitations of the natural world (John Ruskin, Modern Painters, New York: Wiley and Halsted, 1858, 75). A century after Ruskin published his influential text, the English sculptor Dame Barbara Hepworth similarly stated: “When a sculptor is the spectator . . . the artist tries to find a synthesis of his human... Full Review
May 12, 2016
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