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Within years after the end of Reconstruction (the period from 1863 to 1877 during which the federal government controlled states of the former Confederacy and African Americans attained fundamental rights of citizenship), supporters of the Confederacy began commemorating its short-lived existence, its soldiers, and the “Lost Cause” interpretation of the Civil War by placing monuments throughout the South. For the most part, these monuments stood uncontested until the 1970s, when activists and some politicians began demanding the removal of Confederate memorials. Other politicians and activists vigorously defended the monuments, and most still remain in public view. In the late twentieth… Full Review

Lisa Saltzman’s Daguerreotypes: Fugitive Subjects, Contemporary Objects distinguishes itself from most theories of photography, both in content and approach, via a lucid analysis that considers the characteristics of photography less as unique to one medium than as qualities that migrate. She brings together heterogeneous objects that share a distinctive relation to time, identity, and memory, such as Alison Bechdel’s graphic memoir Fun Home (2006), W. G. Sebald’s novel Austerlitz (2001), David Claerbout’s video installation Sections of a Happy Moment (2007), and Vik Muniz’s The Best of Life series (1988–90)—the last of these a palimpsest-like entanglement of photographs taken from drawings… Full Review

Genre Imagery in Early Modern Northern Europe: New Perspectives, edited by Arthur J. DiFuria, consists of eight essays on the topic. DiFuria’s own introduction is followed by two studies addressing genre painting during the sixteenth century, and, thereafter, five that explore this artistic phenomenon during the seventeenth century, though mainly in the Dutch Republic. According to DiFuria, scholars engaged in the study of genre imagery must contend with its reception, origins, and definition. Hitherto, these critical facets of inquiry (all explored in detail in his introduction) have been approached separately when, in this author’s opinion, they should be treated… Full Review

The Contemporary Jewish Museum in San Francisco offered a fresh take on the popular topic of twentieth-century domestic design with its 2014 exhibition Designing Home: Jews and Midcentury Modernism, organized by the eminent curator Donald Albrecht. This exhibition is part of a spate of shows that has addressed the architecture and design of the period. An exhibition devoted to Charles and Ray Eames is currently making international rounds to various design museums—organized by the Barbican in London before moving on to Sweden and Portugal, through 2017. The press has been phenomenal, describing the “power couple” as the “ultimate examples… Full Review

In their scholarly and visually magnificent book Images Take Flight: Feather Art In Mexico and Europe 1400–1700, the editors—Alessandra Russo, associate professor in the Department of Latin American and Iberian Cultures at Columbia University; Gerhard Wolf, director of the Kunsthistorisches Institut in Florenz–Max-Planck-Institute and honorary professor at the Humbodt-Universität zu Berlin; and Diana Fane, curator emerita at the Brooklyn Museum—have selected and carefully arranged thirty-three essays by different authors that reveal how feathers, birds, and images of flight became defining signifiers within art, thinking, and history during the geographical expansion of Europe into the Americas from the fifteenth through… Full Review

The reign of Clement VIII (1592–1605) witnessed a confluence of extraordinary circumstances culminating in the Jubilee of 1600, when hundreds of thousands of pilgrims descended upon Rome. The aftermath of the Council of Trent and the founding of several new religious orders led to a growing understanding that art could be used as a valuable vehicle for disseminating the church’s message, prompting, in part, a flurry of church construction and renovation. Meanwhile, the city experienced an influx of artists from all over Europe, arriving to study from both the city’s famed antiquities and “old masters” like Raphael and Michelangelo, and… Full Review

Thijs Weststeijn’s Art and Antiquity in the Netherlands and Britain: The Vernacular Arcadia of Franciscus Junius (1591–1677) is a well-researched, thoughtful, and timely argument for the seminal role played by the various versions of Franciscus Junius’s The Painting of the Ancients in Three Books or, in Latin, De pictura veterum libri tres (1637) within the history of early modern Netherlandish art theory and also in the broader European tradition. As Weststeijn shows, in the seventeenth and eighteenth centuries Junius’s text was read and quoted widely across Europe, whether in its Latin, English, or Dutch iteration. Yet, while the English version… Full Review

Kathryn M. Rudy’s Postcards on Parchment: The Social Lives of Medieval Books is an exuberant study. The title of the volume draws from its opening vignette, in which, sometime toward the end of the fifteenth century, Sister Kerstyne Vetters sent a “postcard” to her (biological) Sister Lijsbet Vetters, housed at a different convent. This postcard—a painted image of St. Barbara on a rectangle of parchment, with an inscription on its back—survives today in a small prayer book now in the Koninklijke Bibliotheek. Following this introduction, Rudy spins out over three hundred riveting pages to establish a new category of late… Full Review

Combining long-standing research interests in three distinct areas of sixteenth-century Mexican art—feather mosaics, geographic maps, and graffiti—Alessandra Russo’s latest major publication continues to exude the adventurous spirit of a personal scholarly quest in which she invites the reader to participate. Although exploring graffiti is an original undertaking, the first two topics have been treated in earlier books: one authored on maps, El realismo circular: Tierras, espacios y paisajes de la cartografía indígena novohispana, siglos XVI y XVII, Mexico City: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 2005) (click here for review) and another co-edited (with… Full Review

In 1982, after eating a macrobiotic lunch with John Cage in his West 18th Street loft, I brandished my Sony TC-D5M cassette recorder. “I have one just like it,” he said, “David [Tudor] told me to get it—I’ve never turned it on.” Everyone who knew Cage heard him proclaim at least once, “I don’t use records . . . unless I do something else with them” (as in Credo in US; 1942). I was unaware of any composer who accepted these as words to live by, let alone anyone who resisted the curiosity of playback. Cagian arguments stress that… Full Review