Recently Published Reviews

Per(Sister): Incarcerated Women of Louisiana was a richly textured exhibition on the gender-specific effects of incarceration on cisgender and trans women in the state. The show was centered around a group of over thirty currently and formerly incarcerated women whose life stories formed the basis of visual artworks and music created by a diverse group of artists based in and beyond Louisiana. The works in the show ranged in style and included sculpture, painting, video, installation, photography, and original music played throughout the galleries. Participating artists were selected by museum staff and community stakeholders. The Newcomb Art Museum collaborated with… Full Review

Art and Empire: The Golden Age of Spain at the San Diego Museum of Art was an exceptional exhibition overall, from the quality of the artworks (one-third of them from the San Diego Museum of Art) to its bilingual wall text and even the use of augmented reality. The art of “Golden Age Spain” brings with it many entrenched and long-standing assumptions, such as the revered status of seventeenth-century Spanish painting and the artists whose names have become associated with this period: Diego Velázquez, Jusepe de Ribera, and Francisco de Zurbarán among them. Art and Empire attempted to redefine our… Full Review

When the artist Olafur Eliasson, with the help of geologist Minik Rosing, hauled eighty tons of Greenland ice to Place du Panthéon for Ice Watch Paris (2015), releasing thirty tons of carbon dioxide into the atmosphere, so that Parisians and anyone who had traveled to the city (some for the United Nations Climate Change Conference), burning their own quantum of fossil fuel along the way, could feel they were watching the melting of our polar ice caps, he channeled the Arctic’s cold waters into a river of his spectators’ warm tears. One thing Christopher Heuer does in his timely Into… Full Review

Dramatic Impressions: Japanese Actor Prints was a delightful exhibition of a wide variety of Japanese woodblock prints, many on view for the first time. The prints were organized chronologically for the most part, beginning with the eighteenth century and ending with the twentieth. The choices of the curator, Jeannie Kenmotsu (assistant curator of Japanese art with the Japan Foundation), were excellent for a showcasing of numerous famous woodblock-print artists and their actor prints (yakusha-e) from the Kabuki theater celebrity culture. Detailed museum labels provided information for the uninformed viewer as well as specifics for the knowledgeable audience… Full Review

The Early Rubens exhibition organized by the Art Gallery of Ontario (AGO) and the Fine Arts Museums of San Francisco (FAMSF) is surely a visual feast to behold. With works drawn from a dizzying oeuvre that, given its prodigiousness and complexity, demands serious distilling, the exhibition succeeds in tackling key aspects of the monumental artistic output of Flemish painter Peter Paul Rubens (1577–1640) during his early mature period in a strikingly condensed and accessible manner. Surely, this is no small feat; for to paraphrase the erudite Rubens, one of the artist’s greatest ambitions was to provide… Full Review

“Understandings of history are rarely agreed and always shifting,” began the wall text that opened the British Museum’s Reimagining Captain Cook: Pacific Perspectives, in an effort to signal the exhibition’s investigation into the fraught legacy of James Cook (1728–1779), explorer and British Royal Navy captain. Rather than rehearsing well-known and tired narratives of Captain Cook as the heroic explorer and navigator, this exhibition attempted to reframe Cook’s legacy from the perspective of the people and places he impacted with his Pacific voyages. Thus, historical artifacts from Cook’s voyages were juxtaposed with artworks by contemporary Pacific Islanders that reveal their… Full Review

This book by the late Mary D. Sheriff is a study of islands in seventeenth- and eighteenth-century France. Not just any islands, but islands, real and fictive, ruled by “beguiling women who captivate men through both literal and figurative enchantments” (2). These enchantresses promise love and pleasure to the men who arrive on their shores, but their aim is to dominate, corrupt, and emasculate. If manly virtue is to be restored, their charms have to be resisted and their island domains conquered. The trope of the enchanted island came to ancien-régime France by way of a canon of ancient and… Full Review

Michael Baxandall, who died in 2008 just shy of his seventy-fifth birthday, is one of a handful of postwar scholars who were quickly recognized as some of art history’s greats. A string of classic texts and a restless, searching expansion of his range from the Italian Renaissance to the Northern one and into the eighteenth century, combined with a firmly original scholarly viewpoint, afforded him the status of a deep thinker who merits careful study. During Baxandall’s lifetime, Adrian Rifkin edited a volume, About Michael Baxandall (Wiley-Blackwell, 1999), subjecting his methods to scrutiny. The book under review was published in… Full Review

The latest iteration of the Museum of Contemporary Art (MCA)’s Ascendant Artist series featured the Brazilian artist Jonathas de Andrade (born 1982). This series has the virtue of occasionally highlighting younger artists from the Global South, even as the museum itself trends more toward blockbuster shows that lionize designers and musicians rather than advanced art (to name a few, David Bowie Is, 2014–15; Takashi Murakami, 2017; and Virgil Abloh, 2019). Andrade’s North American reputation rests primarily on the film O Peixe (The fish; 2017), a haunting parody of the ethnographic gaze acquired by the MCA… Full Review

Margo Natalie Crawford’s titular concept in Black Post-Blackness: The Black Arts Movement and Twenty-First-Century Aesthetics is oceanic: it is multifaceted and much encompassing. As the introduction explains, black post-blackness is an aesthetics of expressions of free self-determination, of a future blackness that shapes the present still. It is a mood and a shape of time, and also an understanding of that cultural mood and temporal shape as interdependent and in flux.  More concretely, Black Post-Blackness seeks to correct reductive constructions that situate twenty-first-century art and literature by artists and writers such as Glenn Ligon, Claudia Rankine, Kerry James Marshall, and… Full Review

Christopher Lakey’s book, Sculptural Seeing: Relief, Optics, and the Rise of Perspective in Medieval Italy, makes a bold if ultimately problematic argument: Lakey suggests that the origins of perspective in Renaissance art are to be found in medieval relief sculpture, that the Albertian system of perspective evolved from the practices and concepts of medieval stone sculptors beginning with the revival of architectural sculpture associated with Romanesque art, around 1100. The book’s argument, however, is like a thought experiment in which it is necessary to accept the hypothesis as a premise to sustain the conclusion. Lakey aims to prove that… Full Review

Chanchal B. Dadlani’s From Stone to Paper adds an exciting new chapter to a growing body of scholarship exploring the arts and architecture of Asia beyond the “canonical” limit of the seventeenth century by considering the 150 years of the “long eighteenth century,” which, in this case, connects the heyday of the Mughal empire with the advent of the British Raj. Monuments, urban spaces, building practices, and modes of theorizing and representing architecture are examined “on their own terms,” building a case for the primacy of internal forces in shaping the concept of a “Mughal style” in architecture. Crisp, engaging… Full Review

Visitors were nearly denied the opportunity to experience the first major exhibition in the United States of the monumental work of Venetian Renaissance artist Jacopo Tintoretto (1518/19–1594). Though the show was originally slated to open March 3, 2019, a shutdown of the US federal government grounded preparations for Tintoretto: Artist of Renaissance Venice at the National Gallery of Art (NGA) in Washington, DC. It is a testament to the commitment of lenders, dedicated efforts of NGA staff, and the work of its curators, Robert Echols and Frederick Ilchman, that the exhibition opened three weeks later. Although the mechanics… Full Review

Consider two nineteenth-century paintings, made in the same year and same Europe, each alluding to a work by Titian. One is Édouard Manet’s Olympia (1863), a picture central to the modernist canon. With simplified brushwork and pared-down tonality, Manet transplants Titian’s Venus of Urbino (1538) into contemporary Paris. The painting, which ventures a commentary on modern life through its presentation of the Venus as a modern woman, works because of its bold departure from its source. At the same time across the channel, Dante Gabriel Rossetti was painting Fazio’s Mistress (1863), a very different sort of allusion to another work… Full Review

Across the United States, museums are eager to present identity-based shows addressing issues of gender, sexuality, and identity during the fiftieth-anniversary year of the 1969 Stonewall uprisings. This year, the McNay Art Museum dedicated its entire temporary exhibition program to such an effort, with Andy Warhol: Portraits, Transamerica/n: Gender, Identity, Appearance Today, and TransSanAntonian: Examining Trans Identities and Gender Fluidity in the Archives. These three exhibitions constituted a broad consideration of contemporary artists undermining the entrenched gender binary and historical sexual normativity. Transamerica/n, the largest of the three temporary exhibitions, presented a wide range of artists… Full Review