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In 2015, the Museum of Fine Arts (MFA), Boston, produced a large, handsome catalogue featuring approximately one hundred works by African American artists from its permanent collection, all of which were acquired over the past four decades. Three factors had a significant impact in amassing this art. Since 1969, Edmund Barry Gaither, curator and director of the National Center of Afro-American Artists (NCAAA) in Boston, has also served as a curator and consultant to the MFA. In 2005, the MFA Trustee and Overseer Diversity Advisory Committee established the Heritage Fund for a Diverse Collection to strengthen and diversify its world-renowned… Full Review

David Lowenthal contends that the heritage conservation movement came about largely as a result of “a sense of loss,” as humans saw their built environment vanish at alarming rates during the last century (David Lowenthal, The Past Is a Foreign Country, Cambridge, UK: Cambridge University Press, 1985). In the United Kingdom, an island nation, the loss of each historic building often seems to be magnified by longstanding introspection, as the British worry over every facet of their culture like aged librarians. When that building is a great country house, it can seem as if the sky is falling. … Full Review

How do we know the world exists? This question, which precedes Martin Heidegger’s examination of the meaning of Being itself in Being and Time (trans. Joan Stambaugh, Albany: SUNY Press, 1996), brings Heidegger quickly to the terms by which we can “know” the material world. His argument singles out “useless things” as key to the process by which the world discloses itself to us, for these disturb the instrumental order of everyday existence, opening an awareness of the “totality.” The sense of yielding that Heidegger evokes here with the term “disclosure” is important, and he singles it out… Full Review

Stella Nair’s excellent new study of the Inca royal estate at Chinchero, Peru, At Home with the Sapa Inca: Architecture, Space, and Legacy at Chinchero, examines the experiential aspects of this site in relation to indigenous ideologies of space and the built environment. The book is divided into chapters that consider Inca ideas of place and time; specific architectural features; the community that built Chinchero under the direction of the tenth Inca king, Topa Inca; and that same community in the shadow of conquest. The volume’s aim, as stated in the introduction, is the “philosophical and archaeological inquiry into… Full Review

Visual artist Seth Price’s Fuck Seth Price declares itself a novel. It claims this clearly on the cover: A Novel—with a capital “N.” While Fuck Seth Price is the artist’s fourth book, it is his first self-declared novel, though its qualifications to this identity begin to disintegrate even before one flips open the small volume’s die-cut cover. What readers find in the relatively short span of the book’s 122 pages is not a novel in any recognizable sense (though it makes minimal, perhaps token, gestures toward the narrative form), but rather a somewhat schizophrenic deluge of thoughts on art—and particularly… Full Review

Julia I. Miller and Laurie Taylor-Mitchell’s From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence, a long-awaited study on art related to the Humiliati (“humbled ones”), provides a fresh approach to examining the patronage of religious orders. Originating in the eleventh century near Milan, the Humiliati were officially recognized by Pope Innocent III in 1201 and the male branch suppressed in 1571, following the failed assassination of Cardinal Carlo Borromeo in 1569 that was attempted by its members. Rather than focusing upon a particular moment in the order’s history, the book traces the entire span of… Full Review

Posters have long occupied a paradoxical position in the history of nineteenth-century art. Despite their appearance at the center of many exhibitions and textbook studies of the period, posters remain mostly peripheral to art history’s disciplinary foci. Ruth Iskin’s The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s offers an important antidote to the exclusion of posters from substantive art-historical analysis. As her title asserts, “the poster” merits new consideration as a broad category and as a venue where the domains of “art, advertising, design, and collecting” meet. Rather than simply looking to posters for what they reveal about developments in… Full Review

Anthea Callen, a foremost expert on the materials of French painting, makes one of her core arguments at the end of this important book: “Painting is a craft and a science as well as an art” (266). In addition to craft and science, the book’s emphasis falls—emphatically—upon art as labor (the work of art), and it therefore closely examines the character and connotations of the visible painted mark. She views it as the index of an artist’s working methods and tools, but also the inescapable sign of the painter’s aesthetic, social, and institutional allegiances. The book’s remit thus exceeds the… Full Review

Simon Njami remains a consistent voice in defining and elucidating twenty-first-century art created by African artists. The exhibitions he curates provide insights espoused by art practitioners of African descent with new interpretive criteria. Njami furthers this aim in his latest collaboration with Mara Ambrožič: The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists. This mammoth project is composed of three exhibitions, each dedicated to a realm of Dante Alighieri’s Divine Comedy. Similarly, the extensive catalogue is organized into three sections that advance Njami and Ambrožič’s aim to enact and encourage contemplative gestures akin to those… Full Review

At first, the Noli me tangere and Doubting Thomas episodes may appear to be a rather curious pairing as the subject of a book. These two religious narratives are often represented separately and usually have been discussed as distinct topics throughout much of the history of Western art. They are not typically thought of as forming a unit. However, as co-authors Erin E. Benay and Lisa M. Rafanelli reveal, these two events are related. Central to both stories is the resurrected body of Christ and the varying levels of contact with it. Artistic representations of the Noli me tangere and… Full Review