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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

Ingesting Electronic Superhighway: From Experiments in Art and Technology to Art After the Internet brought about the familiar experience of an overdose one might have after seeing an art fair or large-scale biennial. This ambitious exhibition, covering fifty years of digital culture and curated by Omar Kholeif, considered how the world’s ceaseless flow of electronic information and unrelenting proliferation of images have come to impact contemporary art. In her introduction to the extensive companion catalogue, Whitechapel Gallery Director Iwona Blazwick describes the nature of the “electronic superhighway” and the exhibition itself as “a place of information and confusion, euphoria and… 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 exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World presented significant examples of monumental bronze sculpture from the Hellenistic period (323 BCE–27 CE). Curated by Jens Daehner and Kenneth Lapatin, both of the Getty Villa, Power and Pathos not only examined the historical context of these Hellenistic bronzes, but also addressed the importance of bronze as a medium for depicting the movement and expression that are characteristic of Hellenistic art. Although monumental bronze sculptures were highly valued in antiquity, they rarely survive today, and the few remaining examples are often displayed individually in museums. As Daehner and Lapatin… Full Review

Retrospectives devoted to individual artists and artist collectives like Gran Fury have addressed HIV/AIDS, as have smaller gallery shows; however, large-scale exhibitions about the epidemic remain rare. Art AIDS America aims to be the most comprehensive exploration of the impact of AIDS on the course of American art. Organized by Tacoma Art Museum and the Bronx Museum of the Arts and co-curated by Rock Hushka, chief curator at Tacoma Art Museum, and Jonathan D. Katz, director of the Visual Studies Doctoral Program at the State University of New York, Buffalo, this multimedia exhibition surveys artistic responses to AIDS from the… Full Review

“Klein, aber fein” goes the German saying: small, but excellent. That is how I would describe the exhibition organized by the Metropolitan Museum of Art to showcase drawings by Matthias Buchinger (1674–1740) from the collection of Ricky Jay. The phrase could describe Buchinger’s drawings, which are astonishing examples of micrography, a technique whereby minutely drawn words create an image. The practice has a long history, which the exhibition examined, but by any standard Buchinger was an exceptional practitioner of the art. “Klein, aber fein” could also be applied to Buchinger himself, since he was born without legs or hands and… 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