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In her essay, “Seeing Memory, Storying Memory: Printup Hope, Rickard, Gansworth,” literary scholar Susan Bernardin writes that she is learning to “see what has been invisible for too long in discussions of Native American literary studies: the informing, vital lens of indigenous visual arts” (162). With this statement, Bernardin underscores the purpose and the voice of the collection of essays entitled Visualities: Perspectives on Contemporary American Indian Film and Art, edited by Denise K. Cummings, in which “Seeing Memory, Storying Memory” appears. The book originates in the fields of literary and cultural studies, and all of the contributors deftly… Full Review

For historians of photography, Josh Ellenbogen’s Reasoned and Unreasoned Images provides a significant theoretical discussion of photography’s aim to capture the visible and non-visible and, more widely, of its complex relation to human perception, cognition, and memory. The book undertakes close examination of the photographic oeuvres of Alphonse Bertillon (1853–1914), Sir Francis Galton (1822–1911), and Étienne-Jules Marey (1830–1904) as approached through the work of philosopher of science, physicist, and mathematician Pierre Duhem (1861–1916). Through this approach, Reasoned and Unreasoned Images becomes both a work of the philosophy of science and the history of photography. Indeed, this is its greatest strength… Full Review

Forty years ago, when I graduated from college, I applied for a year’s traveling fellowship to take me around the Mediterranean to study the reuse of ancient materials in medieval buildings. The committee rejected my application, telling me (off the record) that it was a “stupid” topic. Little did I know that a few years earlier, the German scholar Arnold Esch had begun a lifetime’s career publishing on that very subject (beginning with “Spolien. Zur Wiederverwendung antiker Baustücke und Skulpturen im mittelalterlichen Italien,” Archiv für Kulturgeschichte, 51 (1969): 1–64), and forty years later “spoliology” has developed into a burgeoning… Full Review

The significance of Charles Palermo’s Fixed Ecstasy for scholarship on Joan Miró, and for modernist studies in general, is undiminished by the fact that after five years its only review appeared in France soon after the book’s publication. Palermo’s study not only breaks new ground by reevaluating Miró’s relationship to Surrealism, but also elucidates the stakes of the artist’s commitment to automatism. Encouraged to abandon a narrow view of automatism as a mere technique or as the suppression of conscious control, readers discover it to be a mode of experience that, when represented, evokes effects of continuity and separation between… Full Review

The Museum of Modern Art’s (MoMA) Machine Art exhibition of 1934 is one of those events that historians love, seemingly so rooted in its time and place that it all but becomes a metaphor, a defining moment of high modernism. Even the catalogue is iconic. With its cover photograph of a complex ball bearing system—all circles within circles—silhouetted against a black field, its lofty quotes from Plato and Aquinas, Josef Albers’s clean page layouts, and its crisp photographs of industrial equipment and household items, the publication exudes self-assurance and conjures a world of endless perfect forms in steel and glass… Full Review

Between about 1591 and 1592, Annibale Carracci, his older brother Agostino, and their cousin Ludovico decorated the main room of the Palazzo Magnani in Bologna with a cycle of frescoes depicting the life of the mythical founder of Rome, Romulus. Since their unveiling, the frescoes have been recognized as among the seminal achievements of the Carracci. The seventeenth-century art critic Giovan Pietro Bellori was particularly fulsome with his praise, writing that the cycle “renders the name of the Carracci glorious in all aspects of painting, and principally in coloring, for it is believed that none better was produced by their… Full Review

What does it mean to picture atrocity, to take photographs of death, destruction, and suffering, to hold those iconic images in our minds? Nearly forty years ago, Susan Sontag took up such questions in her essay “In Plato’s Cave” (in On Photography, New York: Farrar, Straus and Giroux, 1977), questions that would haunt her writing to the very end, be it in her last collection of meditations on the medium of photography, Regarding the Pain of Others (New York: Farrar, Straus and Giroux, 2003), or in its addendum, the 2004 essay “Regarding the Torture of Others” published in the… Full Review

As a practice based in ideas, ephemeral actions, and linguistic provocations, Conceptual art has been made knowable through photography. Photography served to document pieces like Robert Barry’s Inert Gas Series (1969), in which the artist released a succession of gaseous substances into the atmosphere; the medium also informed the very structure of projects such as Adrian Piper’s Food for the Spirit (1971), in which Piper took a picture in the mirror every day to assure herself of her existence during a summer of fasting and reading only Kant, yielding a serial representation of her changing body. If Conceptual art is… Full Review

Consult the Encyclopedia of Nineteenth-Century Photography, edited by John Hannavy (New York: Taylor and Francis Group, 2008), and you will not find an entry on English record and survey photography, nor is the subject mentioned in the lengthy article on “survey photography.” But there is a biographical entry on Sir John Benjamin Stone, and it includes a curious editorial comment: “That Stone is not more celebrated should be a national shame, for he presented England with its history” (1351). Stone (1838–1914) was the founder of the National Photographic Record Association, one of dozens of British turn-of-the-century survey initiatives that… Full Review

For two books on American photography and fiction, Marcy J. Dinius’s The Camera and the Press and Stuart Burrows’s A Familiar Strangeness could not be more different. The approach of The Camera and the Press is historical, with a concentration on the medium of daguerreotypy. Dinius draws on a rich variety of archival sources, including daguerreotype images, advertisements, and periodical literature, to illuminate the ways that the production, reception, and materiality of daguerreotypes affected their cultural significance. By contrast, A Familiar Strangeness considers photography generally as an expression of modernity—as a form of mass reproduction. Rather than examining a specific… Full Review