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A black, square Sony Trinitron TV. Headphones. On stage, a woman in her thirties holds a mic. Three men watch from a table. “The only smile in the history of art that we know is the Mona Lisa’s,” she says, “and we all know what kind of smile is that: it’s the smile that you put on when you wake up and your parents have shaved your eyebrows” (my transcription). Kasia Fudakowski’s Smile (2011) occupies a central space in the first gallery of Laugh-in: Art, Comedy, Performance at the Museum of Contemporary Art San Diego (MCASD). This video documentation of… Full Review

Meredith Gill’s Angels and the Order of Heaven in Medieval and Renaissance Italy sets ambitious goals. She states that “in studying angels we are . . . always studying the big questions, whether these may be about the nature of existence; about humankind’s relation to the supernal; about the identity of language, or the definitions of ‘place,’ ‘hierarchy,’ ‘metaphor,’ or ‘love.’ Studying angels . . . makes available to us the imaginations of artists as they grapple with the marvelous problem of representing the invisible” (14). As Gill explains in her introduction, in their theological essence angels were incorporeal and… Full Review

Upon entering the Los Angeles iteration of French artist Pierre Huyghe’s touring mid-career retrospective, curated for the Los Angeles County Museum of Art (LACMA) by Jarrett Gregory, viewers were given two things. The first was an introduction in the form of a performative artwork titled Name Announcer (2011). A bow-tied gentleman (at least it was a man every time I visited) asked your name and then would repeat whatever you said in a booming, officious tone as you crossed the threshold into the exhibition, whether or not there was anyone else around to hear. The second was an… Full Review

Basquiat and the Bayou is a catalogue accompanying the exhibition of ten works by Jean-Michel Basquiat held at the Ogden Museum of Southern Art in New Orleans. Its contributors attempt to expand an understanding of Basquiat’s art by locating it within an African diasporic identity via interpretations of a selection of his Southern-themed works. Curator Franklin Sirmans’s essay, also titled “Basquiat and the Bayou,” is essentially an exhibition review. It describes works that reference the Mississippi River, religion, jazz, and zydeco, implying a thematic relationship among them that he does not fully detail. Sirmans visualizes Basquiat “meditating on the… Full Review

The ten essays in this edited collection focus on the role of photography in the implementation of colonial policy in early twentieth-century Indonesia and the responses of the local Indies people whose lives were affected and shaped by this policy. Susie Protschky, the book’s editor, explains that in the very early years of the twentieth century, local resistance to Dutch rule had become so resounding that the government was forced to moderate its policies. The new suite of liberal developmentalist reforms introduced in 1904 was known collectively as the “Ethical Policy.” Photography is the frame through which this policy is… Full Review

Embodiments: Masterworks of African Figurative Sculpture is an ambitious exhibition project accompanied by an equally substantial catalogue. Highlighting 120 selections that constitute almost half of the private collection of Dr. Richard H. Scheller, the exhibition is composed of an eloquent mixture of “classical” or “canonical” works, to use the catalogue’s terminology, punctuated with a jaw-dropping array of rare and unusual sculptural forms that “challenge commonly held assumptions about African art,” to quote the exhibition’s online description, and underscore the sheer diversity of sculptural traditions that exist across the broad swathe of West and Central Africa. Yet the objects in this… Full Review

Jesse M. Locker’s Artemisia Gentileschi: The Language of Painting examines the Baroque artist’s career as an independent professional, beginning in the 1620s, within the context of the courtly and literary cultures of Venice, Naples, and Florence. Locker’s study thoughtfully builds on, and at times challenges, the work of scholars and authors who have made Artemisia an (almost) household name, including R. Ward Bissell, Keith Christiansen, Roberto Contini, Mary Garrard, Alexandra Lapierre, and Judith W. Mann. At the outset, Locker quotes Riccardo Lattuada’s observation that “a single document or an individual painting can alter substantially our understanding of [Artemisia’s] work and… Full Review

What is the place of politicized violence within democratic society, and what role do fine artists play in this debate? Ross Barrett takes up these questions in Rendering Violence: Riots, Strikes, and Upheaval in Nineteenth-Century American Art, a thematic study that probes how American painters working between 1820 and 1890 navigated “the ideological difficulties and symbolic possibilities” (3) of the subject of insurrection. Barrett’s case-study approach focuses five trim chapters on seven easel paintings inspired by specific incidents of contemporary political unrest. Employing a diverse range of evidence including artist biography, historical context, popular visual culture, formal analysis, and… Full Review

Northern Italian courts served as vital incubators for Renaissance artists, yet they are often overshadowed by larger cities such as Rome and Florence. Powerful rulers, discerning collectors, and taste-making humanists resided in these autonomous principalities. Renaissance Splendors of the Northern Italian Courts provides some much needed attention for these important artistic centers. Curated by Bryan Keene and Christopher Platts, the exhibition focuses on fifteenth-century manuscripts produced in Ferrara, Mantua, Urbino, and other Italian court cities. Despite being limited to a single gallery, it features works of art commissioned and produced by some of the most influential patrons and artists of… Full Review

Michalis Pichler’s The Ego and Its Own takes ownership of Max Stirner’s philosophical incantation of the same name originally published in 1844. Appearing four years before the Communist Manifesto, Stirner’s text aimed at “not an overthrow of an established order but . . . elevation above it” (Max Stirner, The Ego and His Own, New York: Benjamin R. Tucker, 1907). Both books are split into two parts: part 1, entitled “Man,” considers the ways in which an individual defines her or his substance, be it citizenship (“Political Liberalism”), labor (“Social Liberalism”), or critical activity (“Humane Liberalism”); part 2… Full Review