Recently Published Reviews

Sarah Wilson’s The Visual World of French Theory: Figurations focuses on the artists associated with the major figures of what the Anglo-Saxon world has called “French Theory,” conceived in a broad way, and corresponding mainly to the 1970s. The various chapters are confrontations between Jean-Paul Sartre and Robert Lapoujade or Leonardo Cremonini, Pierre Bourdieu and Bernard Rancillac, Louis Althusser and Lucio Fanti, Gilles Deleuze, Michel Foucault, Félix Guattari and Gérard Fromanger, Jean-François Lyotard and Jacques Monory, Jacques Derrida and Valerio Adami. The goal is to draw attention to these artists, far less known than the thinkers. The relationship then appears… Full Review

The Court Cities of Northern Italy: Milan, Parma, Piacenza, Mantua, Ferrara, Bologna, Urbino, Pesaro, and Rimini, published in Cambridge University Press’s Artistic Centers of the Italian Renaissance series, follows those on Rome, edited by Marcia B. Hall (2005), and Venice and the Veneto, edited by Peter Humphrey (2008), while two forthcoming volumes will address Naples and Florence. The series is conceived as a broadly contextual account of art of all kinds in Italy, 1300–1600. The key to this approach is patronage. Each of the authors of Court Cities of Northern Italy looks at patrons as… Full Review

The exhibition Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan focuses on sculptural fragments from, and the subsequent digital reconstruction of, the Buddhist cave temple site of Xiangtangshan, located in Hebei Province in northern China. The inception of the site dates to the short-lived yet prolific Northern Qi Dynasty (550–577), the subject of the accompanying international conference held at the Freer Gallery on June 3–5, 2011. The name Xiangtangshan may be translated as “Mountain of Echoing Halls.” The name seems fitting, as the exhibition and accompanying illustrated catalogue examine the site as it reverberated during three distinct historical… Full Review

Curated by Donald Albrecht and Thomas Mellins, The American Style: The Colonial Revival and the Modern Metropolis was a delightful and instructive exhibition. In one ample room, divided by projecting vitrines and one partial transverse wall, they displayed paintings, drawings, prints, furniture, ceramics, glass, photographs, and even current wallpaper. Various forms of classical revival became widely acknowledged from the late 1870s onward as the best and truest American expression in architecture and domestic design. Albrecht and Mellins suggested that the catalyst was the Centennial exhibition in Philadelphia in 1876, but they demonstrated that later expositions reinforced and developed ideas… Full Review

There comes a moment in every architectural history class when an undergraduate asks how exactly did architects work out the science or mathematics of some major monument. It is not a moment I eagerly anticipate, and I suspect I am not alone. Especially in the large introductory classes I teach each year, my emphasis is on the broad cultural issues of architecture, the ways in which buildings shape human experience and respond to historical pressures. I am trying to engage students who are not necessarily art history or architecture majors and those who are in the class to satisfy some… Full Review

In the latter half of the nineteenth century, many writers, such as the economist Stanley Jevons, viewed museums as agents of social reform, but today many scholars have focused on reforming museums and their collecting practices. Specifically, museums’ acquisitions of ancient objects have sparked contentious disputes about these institutions’ responsibilities. These debates are presented in Robin F. Rhodes’s The Acquisition and Exhibition of Classical Antiquities, an edited book of essays from a symposium held at the Snite Museum of Art at the University of Notre Dame on 24 February 2007. This work addresses the collection and display of licit… Full Review

Color—its optical properties, its physiological effects, its natural and human origins, its cultural and emotional associations—has been John Gage’s subject of choice for several decades, and no one has worked in this area more, or more fruitfully, than he. Gage’s most recent book is apparently narrower in scope but turns out to be more comprehensive in its claims than his Color and Culture: Practice and Meaning from Antiquity to Abstraction (New York: Bulfinch, 1993) and Color and Meaning: Art, Science, and Symbolism (Berkeley: University of California Press, 1999). Those earlier studies explored the symbolic and practical functions of color throughout… Full Review

David Jaffee’s A New Nation of Goods: The Material Culture of Early America ends with the cultural phenomenon whose emergence it explains: the Victorian parlor, described by T. S. Arthur in Godey’s Lady’s Book in 1849 as a sort of Daguerreian Gallery stuffed with mass-produced goods from Hitchcock chairs and bronze shelf clocks to colorful, machine-woven carpets and illustrated books. Each of these commodities, Jaffee demonstrates, “took its meaning from the ensemble” (323). Contrary to what one might expect, he argues, this emergent middle-class aesthetic had its origins not in the city but in the New England countryside—a claim he… Full Review

Giuseppe Arcimboldo’s composite paintings are surely among the most entertaining images produced in Europe during the sixteenth century. Twenty-first century viewers respond to them immediately with delight and curiosity, and usually also remark on how much they are like Surrealist paintings. The same sorts of responses are found in art-historical scholarship. Renaissance studies has long neglected Arcimboldo altogether, with the result that his paintings remained to be effectively studied within their own context. In Arcimboldo: Visual Jokes, Natural History, and Still-Life Painting, Thomas DaCosta Kaufmann seeks to rectify this lacuna in art-historical scholarship and to elucidate the deeper meaning… Full Review

Issues of high and low—fine art versus popular culture—ran rampant through Art in the Streets, organized by the Museum of Contemporary Art, Los Angeles (MOCA). The first major U.S. museum exhibition devoted to exploring the history of graffiti and street art, it took any number of risks with regard to the challenges it posed to conventional notions of museum art. The exhibition succeeded in large measure and was at once raucous, thought provoking, and illuminating. Not surprisingly, it drew impressive crowds. At its best, the exhibition expanded definitions of art, revealing meaning and beauty in the most humble circumstances… Full Review

Sandra Cavallo and Silvia Evangelisti, editors of Domestic Institutional Interiors in Early Modern Europe, begin their introduction by reminding the reader that many early modern people did not live exclusively in houses. Instead, the period saw large numbers of women and men from diverse social backgrounds who experienced a variety of domestic arrangements in different types of institutions for part or all of their lives. The slight change of the book’s title from that of the 2004 conference at London’s Victoria and Albert Museum entitled “Domestic and Institutional Interiors in Early Modern Europe” from which it emerged reflects an… Full Review

Renewed scholarly interest in ancient clay figurines from Egypt, the Near East, and the broader Mediterranean world has driven a recent resurgence in coroplastic studies. Until recently, several factors limited these studies. Many of these figurines were uncovered in large-scale excavations during the early twentieth-century, when recording techniques and excavator priorities meant that context was only cursorily documented, if at all. Furthermore, many pieces in modern museums were acquired from the art market and have no provenance. As a result, research on figurine date and function has been limited, concentrating on stylistic analysis and (less frequently) methods of production. However… Full Review

When describing the carved artworks of the Aboriginal people of the Arctic regions, the anthropologist Edmund Snow Carpenter once observed: “A distinctive mark of the traditional art is that many of the ivory carvings, generally of sea mammals, won’t stand up, but roll clumsily about. Each lacks a single, favored point of view, hence, a base. Indeed, they aren’t intended to be set in place and viewed, but rather to be worn or handled, turned this way and that. The carver himself explains his effort as a token of thanks for food or services received from the animal’s spirit” (16)… Full Review

Organized in collaboration with the United States Patent and Trademark Office, The Great American Hall of Wonders at the Smithsonian American Art Museum (SAAM) celebrated the United States as an exceptional nation. Spanning the entire nineteenth century, but primarily the transcontinental, expansionist period of 1826–1876, the exhibition represented the nation’s citizens in possession of unparalleled democratic liberties and socio-economic opportunities, as they utilized their technological and scientific ingenuity to harness an abundance of natural resources. Echoing Philadelphia’s diverse Centennial Exhibition of 1876, SAAM’s thematically arranged rooms, formerly home to the Patent Office, displayed portraits, landscapes, and genre paintings… Full Review

To the modern day reader, hospitals and scientific societies might seem to be unlikely settings for exhibiting and discussing contemporary art. In The English Virtuoso: Art, Medicine, and Antiquarianism in the Age of Empiricism, Craig Ashley Hanson shows how it made perfect sense that such venues would foster art theory and practice in seventeenth- and eighteenth-century England. The leading role in this book is played by the figure of the virtuoso, whose eclectic interests were united under the umbrella of curiosity. Encompassing activities as wide ranging as medicine (learned and unlearned), classical studies, and art collecting, patronage, practice, and… Full Review