Browse Recent Book Reviews

Return to the Postcolony: Specters of Colonialism in Contemporary Art and The Migrant Image: The Art and Politics of Documentary during Global Crisis, both by T. J. Demos, are books of exceptional merit and importance. Demos’s critical practice resonates with a line from Jacques Derrida that has always inspired and haunted me: “I believe in the political virtue of the contretemps” (1993; Specters of Marx: The State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf, New York: Routledge, 1994, 88). In these two works, Demos has offered not merely a body of… Full Review

For many philosophers working in the Anglo-American analytical tradition, the philosophy of film stands to film just as the philosophy of language stands to language: a given range of familiar phenomena are embedded in our lives in ways that take for granted a certain understanding of their nature, and the philosopher interrogates that understanding with a view to disclosing and testing the legitimacy of its presuppositions, and thereby clarifying the true nature of those phenomena. Katherine Thomson-Jones’s short, accessible book, Aesthetics and Film, belongs to this genre: it introduces readers to the field by focusing on two clusters of… Full Review

In The Echo of Things, Christopher Wright analyzes photographs of an island off New Georgia in the western Solomon Islands that were taken by European visitors at the end of the nineteenth and beginning of the twentieth century. He also examines contemporary Solomon Islander attitudes toward old photographs and photography in general. This is an exciting approach, informed by Wright’s concern with history, ethnography, photography, and responses of the people of Roviana Island, a small but central site in the colonial histories of the British Solomon Islands Protectorate. A historian, anthropologist, archivist, and historian of photography, Wright visited Roviana… Full Review

This edited volume—a companion to the exhibition of the same name, co-organized by the J. Paul Getty Museum and the Cleveland Museum of Art (CMA), in association with the Sicilian Region and the Assessorato for Cultural Heritage and Sicilian Identity—showcases the art, archaeology, history, and culture of the Greek cities on Sicily from the victory over the Carthaginians at the Battle of Himera in 480 BCE to the defeat of Syracuse in 212 BCE by the Roman general Marcellus. The book’s objective, explained in the forewords by Italian officials, the editors, and museum personnel, and in the introduction by Claire… Full Review

In the section of Lives of the Artists dedicated to Michelangelo, Giorgio Vasari tells a bewildering story surrounding the Doni Tondo (ca. 1506). Agnolo Doni, a friend of Michelangelo and lover of all things beautiful, had commissioned the painting and had negotiated with the artist on a price of seventy scudi. We do not know whether this price included the frame, or the gold and blue and other raw materials as would have been normal at the time, but when Agnolo received the finished work, he decided to pay only forty scudi. Again Vasari omits the reasons why… Full Review

In Cézanne, Murder, and Modern Life, André Dombrowski presents an unfamiliar Paul Cézanne: the seemingly awkward, overwrought romantic who produced such works as The Murder (ca. 1868–70) and The Strangled Woman (ca. 1870–72). When this “expressionistic” Cézanne has been attended to at all, he has been characterized as an artist subject to his own immature psychic turbulence—a radically different creature from the modernist master whose influential “constructivist stroke” emerged in the mid-to-late 1870s. Dombrowski sets out to correct this dismissive periodization, making a case for the relevance of Cézanne’s early career. Devoting each of his five chapters to sustained… Full Review

Ambitious and far-reaching, History of Design offers an introductory global history of decorative arts, material culture, and design over the course of six centuries and is the fruit of nearly a decade’s worth of coordination on the part of editors Pat Kirkham and Susan Weber, with contributions from twenty-six listed authors. Envisioned as a textbook, its six chapters are clearly arranged in four chronological sections and six geo-cultural areas (currently omitting Australia/Oceania, which the editors note is planned for future editions). Color codes allow readers to pursue the story of individual cultures, skipping others, but the aim of producing an… Full Review

In Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace, Joseph Shatzmiller investigates the impact of Christian pictorial and aesthetic traditions on Jewish art in the Middle Ages. Jewish visual responses to styles, images, religious beliefs, cultural values, materials, and texts found in Christian art have previously been examined by Bianca Kühnel, Malachi Beit-Arié, Katrin Kogman-Appel, Bezalel Narkiss, Vivian Mann, and Eva Frojmovic, among others.[1] In addition, a recent exhibition, Crossing Borders: Hebrew Manuscripts as a Meeting Place of Cultures, accompanied by a scholarly catalogue edited by Piet van Boxel and Sabine Arndt, explored these themes (… Full Review

As Maxwell K. Hearn explains in his introduction to this important book, which serves as the catalogue of an exhibition he curated, for over two millennia ink made from lampblack or pine soot has been the principal medium of the allied arts of painting and calligraphy in China. Ground with water to form a liquid and applied with a brush to paper or silk, ink is an infinitely flexible medium: ranging in tone from jet black to pale, silvery gray, it records every inflection of the artist's arm, hands, and fingers transmitted to the tip of the brush. Ink was… Full Review

In No Innocent Bystanders, Frazer Ward addresses issues of community and the public through the lens of canonical performance artists—and work—from the 1970s. Ward is acutely aware of the importance of how an event or action is framed as art, noting that the “importance of art as a context here is that it at once invokes and relies upon (even as it may capture) an audience” (2–3). Ward chooses to focus on seminal pieces—many of which were so controversial that they received coverage in the mainstream press—in order to tease out the implications of audience, publics, and counterpublics in… Full Review