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In Seeing Differently: A History and Theory of Identification and the Visual Arts Amelia Jones offers a rebuttal to the frequent claim that we are beyond identity and identity politics. Beliefs about identity are tied to the visual register—people make assumptions about other people based on what they look like. Seeing Differently opens with a recent and tragic example: the case of Jean Charles de Menezes, a Brazilian worker in London, who was murdered by the London police when he was mistaken for the suicide bomber Hussain Osman (xx–xxi). Jones uses the shocking circumstances of Menezes’s murder in order to… Full Review

Devin Fore’s Realism after Modernism: The Rehumanization of Art and Literature is an important book that addresses with real erudition and insight some very important issues regarding realism and modernism in European art, writing, and theater in the period between the two world wars. It offers a particularly compelling rethinking of the supposed return to realism in the later 1920s and the 1930s, focusing on Germany, where debate on the subject was played out with unusual intensity and sophistication. Fore argues persuasively against the standard view that there was a rehumanization of art and a return to order as avant-garde… Full Review

Art as Politics in Late Medieval and Renaissance Siena is a wide-ranging attempt to identify several Sienese artistic commissions and individual motifs as politically meaningful, by which editors Timothy B. Smith and Judith B. Steinhoff mean, “the creation and deployment of visual art and architecture to embody political ideals, promote political agendas, or otherwise serve the concerns of government” (1). More precisely, the book concerns the role of art and architecture in the creation and promulgation of a civic identity for Siena. This is a laudable goal since the vast majority of Sienese art-historical literature has mostly ignored the subject… Full Review

The Romanesque cloister of Santo Domingo de Silos has long merited a scholarly study on the scale of Palace of the Mind: The Cloister of Silos and Spanish Sculpture of the Twelfth Century. Housed in a Benedictine monastery whose own history is deeply entwined with that of the Castilian kingdom, the cloister holds an enduring place in modern narratives of the genesis of Romanesque art. Its importance is owed both to the precocious, if somewhat controversial, documentation traditionally associated with it and to the exceptional sophistication of its sculpted capitals and pier reliefs, especially those of the cloister’s first… Full Review

Nicole Coolidge Rousmaniere’s compact Vessels of Influence: China and Porcelain in Medieval and Early Modern Japan manages to contain three strikingly distinct chapters, as well as a long introduction that counts as a fourth component. Although the four segments are interrelated, it is easy to imagine that each would appeal to a separate reader for a different reason. Whether read in isolation or in sequence, they are highly informative concerning the impact of the long presence of Chinese porcelain—“vessels of influence”—in Japan. Rousmaniere’s book is especially important for introducing the findings of Japanese archaeologists and art historians—a realm of discourse… Full Review

In his book Becket’s Crown: Art and Imagination in Gothic England, 1170–1300 (New Haven: Yale University Press, 2004) (click here for review), Paul Binski writes perceptively about the complexity, quality, and originality of the sculpture of Reims cathedral. In his estimation, this body of art, from its corbels to its tympana, sets new standards for architectural decoration in subject matter, formal adventurousness, and expressivity. For the art historian wishing to probe Binski’s claims in greater detail, the sculpture of Reims provides a set of archaeological and interpretive challenges that are simultaneously compelling and daunting. One must look both… Full Review

The first decade of the twenty-first century has witnessed several publications devoted to individual Chinese paintings. They hark back to the 1950s and 1960s, when Sherman Lee and Wen Fong collaborated to write Streams and Mountains Without End: A Northern Sung Handscroll and Its Significance in the History of Early Chinese Painting (Ascona: Artibus Asiae, 1955) and Chu-tsing Li wrote The Autumn Colors on the Ch’iao and Hua Mountains: A Landscape by Chao Meng-fu (Ascona: Artibus Asiae, 1965), two monographs that helped frame the study of Chinese painting in those and subsequent decades. The present crop of monographs on single… Full Review

Suffusing his working process, his subject matter, and his address to the viewer, violence is central to the montage-based work of the German artist John Heartfield. It is on clear display, for example, in the missing limbs, firearm, and prominent vagina dentata with which he and his fellow Berlin Dadaist George Grosz assembled the sculptural self-portrait The Middle-Class Philistine Heartfield Gone Wild (Electro-Mechanical Tatlin Sculpture) in 1920. One witnesses it also in his 1928 poster The Hand Has 5 Fingers promoting the German Communist Party’s “List 5” in the upcoming Reichstag elections by way of threat, with a tremendous… Full Review

Photography in Africa has long had a dual role as a tool of explorers and colonial officials and as a new “modern” object that slowly worked its way into the daily lives of many African peoples. It has been used extensively to document fieldwork in Africa, and in turn the photograph as a material image has become an important topic of study. Photography in Africa: Ethnographic Perspectives, a collection of essays edited by Richard Vokes, is a valuable addition to the growing library of books about photography in Africa—which also includes Erin Haney’s Photography and Africa (London: Reaktion Books… Full Review

Yukio Lippit’s fine book examines the ways in which certain leaders of the Kano house (or school) in seventeenth-century Japan adapted to competition and enhanced the prestige of its painters and, ultimately, of the painting profession as a whole. By the 1600s, the Kano were part of a society in which warriors had placed their status group at the top of a rigid social hierarchy with some room for movement below but not up into it. The structure was not, however, all-encompassing, nor did it absolutely determine matters of prestige, wealth, and influence. Members of the nobility and monks, for… Full Review