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Sarah Patricia Hill and Giuliana Minghelli’s edited volume, Stillness in Motion: Italy, Photography, and the Meanings of Modernity, is the latest contribution to a growing body of English-language scholarship on photography in Italy. As Hill and Minghelli state in their introduction to the volume, their goal is to reveal something of “the current global culture of the image” (4) within the triangulation of Italian identity, photography, and modernity. Although not intended as a national history, the book nonetheless makes a claim for the particularity of the Italian case, arguing that Italy’s relationship to both photography and modernity has historically… Full Review

Robert Gober: The Heart Is Not A Metaphor at the Museum of Modern Art (MoMA) is a collaborative project between Robert Gober; Ann Temkin, chief curator of painting and sculpture; and Paulina Pobocha, assistant curator. The exhibition, at its heart, reflects Gober’s curatorial practice. This role is not a new one for the artist. In 2009, Gober organized Heat Waves in a Swamp: The Paintings of Charles Burchfield, with Cynthia Burlingham, at the Hammer Museum of Art; and for the 2012 Whitney Biennial, he curated a selection of Forrest Bess’s work. Indeed, as MoMA Director Glenn Lowry notes in… Full Review

Francesco Vanni (1563/64–1610), the leading Sienese painter at the turn of the seventeenth century, was an innovative religious iconographer, a gifted draftsman, and an occasional printmaker. Despite his considerable accomplishments, he has never been the sole subject of a full monograph or exhibition—until now. Inspired by Yale University Art Gallery’s acquisition in 2003 of Vanni’s Madonna della Pappa painting (ca. 1599), the exhibition appeared only in New Haven. The accompanying catalogue provides an extensive examination of the artist’s works, focusing on his preparatory drawings for altarpieces, his three autograph etchings, and the many prints by other artists based on his… Full Review

Francisco de Hollanda (1517–84) begins Da Pintura Antigua (1548) by closely paraphrasing Vitruvius’s introduction to book 6 of De Architectura, in which the Roman author notes that the best preparation for the whims of Fortuna is knowledge—both education and the mastery of one’s profession. Hollanda’s knowledge of the theory and practice of art, however, seems to have offered him little protection from a poor critical fortune. After his work was finally published in the nineteenth century, many historians of art dismissed it as that of a pretentious and parochial artist. This reception, which is usefully outlined by Ángel González… Full Review

The Forever Now: Contemporary Painting in an Atemporal World is the rather ominous title of a sprawling exhibition at the Museum of Modern Art (MoMA). The title alone almost seems to threaten the very existence of any and all future endeavors in painting. Seventeen artists from just three countries (nine women and eight men), all born after 1954, make up the group selected by Laura Hoptman, curator of the Department of Painting and Sculpture at MoMA, to carry the banner of painting into the future and, perhaps, back into the past. The term “atemporality” was coined by science fiction writer… Full Review

In Camera Lucida: Reflections on Photography, Roland Barthes famously refused to reprint what he referred to as the Winter Garden photograph of his mother as a child, but he reflected on its meaning and details extensively (Camera Lucida: Reflections on Photography, trans. Richard Howard, New York: Hill and Wang, 1981). In Agitating Images: Photography Against History in Indigenous Siberia, Craig Campbell reverses this strategy, presenting many photographs and photographic fragments of early twentieth-century Siberia, but refusing to analyze or discuss individual images. This is a deliberate choice, one that stems from Campbell’s assumption that photographs are… Full Review

From the outset, David Bindman makes it clear that Warm Flesh, Cold Marble: Canova, Thorvaldsen, and Their Critics is about the use and abuse of Immanuel Kant in interpretations of sculpture. In his preface, he states that the book constitutes a defense of a “discrete” Kantianism. He argues that Kant’s ideas circulated and trickled down, pervading theoretical aesthetics and artists’ discourses—but that the ideas were transformed in the process. Bindman’s convincing claim is that a vulgar or unauthorized Kantianism operated in the work of the main sculptors of Kant’s era, between about 1780 and 1840—including the medium’s two leading practitioners… Full Review

On the lawn of the Nelson-Atkins Museum of Art, a series of tipis situated alongside Claes Oldenburg and Coojse van Bruggen’s Shuttlecocks (1994) provides an intriguing glimpse of The Plains Indians: Artists of Earth and Sky, an exhibition curated by Gaylord Torrence, senior curator of American Indian Art at the museum. The juxtaposition between the tents and the sculpture draws attention to their design similarities while also suggesting that tipis have become objects of American kitsch, much like Oldenburg and Van Bruggen’s badminton birdie. Despite such associations, guests are invited to enter the conical structures to observe the unique… Full Review

Aesthetic of the Cool: Afro-Atlantic Art and Music is arguably Robert Farris Thompson’s most canonical study of visual art, music, and dance in the Black Atlantic world. True to its subject, the book attempts to identify and examine commonly held traits among these modes of creative expression. Presented in twenty-five relatively short chapters (two of which are interviews), the book is effective in its aim by providing readers with a broad yet simultaneously succinct view of Afro-Atlantic music, dance, art, and, more importantly, the individualized and collective cultural meanings ascribed to each of these artistic outlets. Aesthetic of the Cool… Full Review

Scott Bukatman’s The Poetics of Slumberland: Animated Spirits and the Animating Spirit appears, at first glance, to be a book about the work of pioneering cartoonist, animator, and chalk-talker Winsor McCay (1867–1934). After all, McCay’s most celebrated work—Little Nemo in Slumberland (1905–11)—is explicitly referenced in the title, and three illustrations from two distinct Little Nemo strips adorn the front and back cover. But Bukatman’s book, although organized around an extended examination of McCay’s life and work, is much more ambitious than this. For Bukatman, Slumberland is not merely a fictional nation visited by Nemo in the strip that bears… Full Review