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A growing literature has emerged describing and analyzing the production and reception of art objects as well as the institutions supporting artists during the nineteenth and twentieth centuries. This recent book, the published version of Thomas Schmitz’s 1997 doctoral dissertation (University of Düsseldorf), is a thoroughly researched and cogently analyzed account of one of Germany’s unique institutions, the Kunstvereine (art unions). Additionally, he discusses the relationship of Kunstvereine to issues of class identity and cultural self-representation. He has no aesthetic or ideological ax to grind and therefore quite objectively discusses the art unions’ major features, including their strengths and weaknesses… Full Review

This informative and elegantly illustrated catalogue appeared in association with the exhibition Magnificenza! The Medici, Michelangelo, and the Art of Late Renaissance Florence (in Italy, L’ombra del genio: Michelangelo e l’arte a Firenze, 1537–1631). The impressive scope of the catalogue covers works of art produced during the reigns of four Medici Grand Dukes: Cosimo I (r. 1537–74), Francesco I (r. 1574–87), Ferdinando I (r. 1587–1609), and Cosimo II (r. 1609–31). The curators of the exhibition, Marco Chiarini (Scientific Exhibition Commissioner for Italy, Florence), Alan P. Darr (Detroit Institute of Arts), and Larry J. Feinberg (Art Institute of Chicago), collaborated… Full Review

The last ten years have seen a marked increase in the frequency and kind of debates about the memory of the Holocaust. The planning of Holocaust monuments, the filing of class-action lawsuits by survivors, the flood of written and videotaped oral testimonies, and the establishment of Holocaust studies chairs and institutes have kept the Holocaust in the public eye and have all occasioned intense discussions about how it should be remembered and represented. Dora Apel’s intelligent and insightful book draws our attention to the role that art can play in understanding this phenomenon and the questions it poses about the… Full Review

Although this book accompanied an exhibition, its ambitions and contributions far exceed those of a standard exhibition catalogue. In Traces of India: Photography, Architecture, and the Politics of Representation 1850–1900, we are given a very substantive analysis of photographic history in India, using the representation of architecture as its focal point. The inspired conceptualization that combined photography and architecture extends to the presentation of this scholarship and its sources: the volume is sumptuous in its presentation, absolutely gorgeous in its visual documentation, and helpfully laid out, with close proximity of examples and related text. The basic concept is riveting… Full Review

Lynn Gamwell’s expensively produced, beautifully illustrated, and deeply flawed book traces the influence of science on art from the mid-nineteenth century to the present. It begins with a question—Where did abstract art come from?—and by way of an answer provides a statement that lays out the thesis of the book: “I propose that two catalysts contributed to the precipitation of abstract art: the scientific worldview that developed after the publication in 1859 of Charles Darwin’s On the Origin of Species by Means of Natural Selection and the secular concepts of the spiritual that developed thereafter” (9). Gamwell’s first catalyst, the… Full Review

Chicago was a beehive of construction activity in the 1870s as the city rebuilt after the Great Fire of 1871 with structures that were more permanent in both fabrication and appearance. Technical advances such as steel-frame construction with terra-cotta fireproofing and the passenger elevator dovetailed nicely with the hardheaded pragmatism of real-estate investors who demanded the maximization of rentable square feet. On hand to guide the design and construction of the new city was a group of architects who possessed mainly practical experience and little academic training. The response of this group, called the Chicago School, to the problems set… Full Review

Defined straightforwardly, video art is that visual art created using video cameras. As Michael Rush points out in his superbly well-illustrated survey history, the medium’s creation can be dated very precisely: the video era was inaugurated when in 1965 Sony Corporation marketed a financially available hand-held camera and portable tape recorder. As he then goes on to note, this novel technology was soon put to use by a great number of artists. Video Art is organized around three themes. Video is used by artists to extend their own bodies, to expand “the possibilities of narrative” (9),… Full Review

See Joel Smith’s review of this book A photograph … is never simultaneous with the present. [It] is something which is absolutely gone and which we can do nothing about; it has the same meaning as death. It is the past holding onto the present. A photograph is a wordless memory, an abandoned structure built on layer upon layer of time stretching from the past to the present. (268) —Miyamoto Ryūji, 1992 The History of Japanese Photography, the catalogue for an exhibition of the same title, abounds with memorable quotations.… Full Review

Art and the Culture of Love in Seventeenth-Century Holland is rich in ideas and, at least to this reader, sometimes provocative in method. This beautifully produced book raises the important matter of ambivalence in seventeenth-century Dutch works of art, using the theme of love in genre paintings, prints, and book illustrations to show how this ambivalence takes shape. Nevitt’s main explanation is that works of art “accommodate the complexity of the culture that produced them” (183). This is not very illuminating, however, as it only moves the cause of the ambivalence from the realm of painting to the broader realm… Full Review

There is much to recommend about Gary Shapiro’s latest book to readers of these reviews. It is well written, liberally illustrated, and thoroughly researched, and it clarifies insights that have not yet come to the attention of most authors. In short, this book is original and compelling, warranting the attention of those seeking a philosophical basis for their art-critical perspectives. Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying is, above all, a philosophy book. It sets out to correct the professional myopia that regards Friedrich Nietzsche and Michel Foucault—and the whole field of aesthetics—as only… Full Review