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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

China: Through the Looking Glass, the Metropolitan Museum of Art’s exploration of how Chinese dress and aesthetics have influenced the Western fashion world, has been a popular success: with visitor numbers topping 800,000, it has entered the top five of the Met’s most successful exhibitions, beating another recent and immensely popular fashion exhibition also curated by Andrew Bolton, Alexander McQueen: Savage Beauty, and proving yet again that fashion in the museum sells. But does it advance a knowledge of how fashion and dress have mediated cultural interactions between China and the West? How does it answer the implicit… 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

Taryn Simon’s bibliography for Paperwork and the Will of Capital includes an 1816 volume by Scottish horticulturalist George Sinclair. His Hortus gramineus Woburnensis catalogues the results of soil and planting experiments conducted to enhance the performance and nutritive value of various types of grass cultivated for animal fodder. Plant communities composed of diverse species, Sinclair found, produce a greater yield than less species-rich plots. The implications of this discovery would ultimately extend well beyond the agricultural intentions of Sinclair’s work. Charles Darwin in 1859 reframed the Scottish gardener’s research as a key source for the theory of natural selection and… 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

Organized by the Walker Art Center, International Pop is an ambitious show that aims to rethink the canonical narratives of one of the most recognizable artistic styles of the twentieth century. Structured around five national and five thematic galleries, it attempts to overturn the idea of Pop as a primarily American and British movement by redefining it as a fluid sensibility with an international reach and relevance. While the exhibition catalogue includes an impressively detailed chronology documenting Pop events in unexpected locales like Algeria, India, and the Soviet Union, the exhibition itself is limited to artists from Europe, Latin America… Full Review

Art and Rhetoric in Roman Culture, edited by Jaś Elsner and Michel Meyer, makes a case for a prescriptive approach to the understanding of Roman visual culture. This prescription is outlined in Meyer’s preface and Elsner’s introduction. Both propose the model of Aristotle’s tripartite division of rhetoric into speaker (ethos), audience (pathos), and speech (logos) as the framework for the analysis of visual material. The preface defines the distinctive qualities of Roman as being more declamatory than argumentative—as in Greek rhetoric—which then allows for the inclusion of visual material: “Art is a way… Full Review