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The Jungle (1943) no longer hangs by the coatroom of New York’s Museum of Modern Art, as John Yau once decried (“Please Wait by the Coatroom,” Art Magazine 63, no. 4 [December 1988]: 56–59), and no doubt the critical fortunes of Wifredo Lam have risen auspiciously over the past quarter-century. Lam scholarship surged in the 1990s and early 2000s amid a disciplinary climate in full flush of postcolonial revision and a continuing anthropological turn. From the exhibition Wifredo Lam and His Contemporaries, 1938–1952 (New York: Studio Museum in Harlem, 1992) to the publication of Lowery Stokes Sims’s definitive monograph, Wifredo… Full Review

Alien She, organized by and exhibited at the Miller Gallery at Carnegie Mellon University in Pittsburgh before opening at the Yerba Buena Center for the Arts in San Francisco, examines the influence of the feminist punk rock movement Riot Grrrl on artists working today. Curated by Ceci Moss and Astria Suparak, the exhibition presents archival materials (zines, mixtapes, music playlists, cassettes, fliers, t-shirts, video footage, and other ephemera) from the Riot Grrrl movement as well as work by seven contemporary artists whose “visual art practices were informed by their contact with Riot Grrrl,” according to the exhibition brochure. What… Full Review

In Performing China: Virtue, Commerce, and Orientalism in Eighteenth-Century China, 1660–1760, Chi-ming Yang contributes to the growing body of scholarship that reinvestigates and reconceptualizes the complex effects of Chinese taste on Western Europe (on England, see David Porter, Eugenia Zuroski Jenkins, Elizabeth Hope Chang, and Peter J. Kitson; on France, Christine A. Jones; on Italy, Adrienne Ward [to name only a few]; most recently in art history, see Stacey Sloboda, Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain, Manchester: Manchester University Press, 2014) (click here for review). Specifically, Yang joins the ranks of those who increasingly… Full Review

Published on the occasion of the exhibition Drapetomanía: Grupo Antillano and the Art of Afro-Cuba, this volume is on a mission. Grupo Antillano, a diverse group of artists and intellectuals, was active in Cuba between 1978–83—spanning the moment (1981) when the so-called “New Cuban Art” first rose to prominence. But while the latter movement has become the global face of contemporary Cuban art, the work of Antillano is all but unknown, whether on the island or beyond. With this ambitious exhibition and book project, curator, historian, and essayist Alejandro de la Fuente means to correct that omission. Grupo… Full Review

In Tim Youd’s recent solo exhibition and performance, The Long Goodbye, at the Museum of Contemporary Art in San Diego, visitors were able to hear the artist’s work before seeing it. It is a sound that most people will be familiar with, but haven’t encountered in a while. As one approached the museum’s Krichman Gallery, the staccato sound of the clacking keys of an Olivetti Studio 44 typewriter was audible before rounding the corner to take in the sparkling view of La Jolla Cove through the room’s generously sized glass windows. I have always admired the beach location of… Full Review

It seems fitting to approach a book about faces by starting with an examination of the publication’s own face, namely its cover. On first view of Hans Belting’s new book, Faces: Eine Geschichte des Gesichts, only the white and yellow letters of the title emerge clearly. A second look is necessary to make out the female figure located behind the text; it is a portrait of the famous U.S. photographer Lee Miller, taken ca. 1927 by Arnold Genthe. The young woman is slightly turned to the left, as she looks over her shoulder and away from the spectator’s gaze… Full Review

No eighteenth-century British artist had an output as wide-ranging and as versatile as William Kent (1685–1748). He worked for court, country, and city; his style encompassed the Palladian and the Gothic. Painting, sculpture, architecture, interior decoration, furniture, metalwork, book illustration, theater design, costume, and landscape gardening—he turned his hand to them all. His genius lay not in one form of artistic production, but rather in the way he combined them. He is credited as the first Englishman to design complete interiors, with pictures, furniture, and upholstery integrated into single coherent schemes (John Cornforth, Early Georgian Interiors, New Haven: Paul… Full Review

When I hear the name of the American artist Marsden Hartley, I think of two paintings, Portrait of a German Officer (1914) and Adelard the Drowned, Master of the “Phantom” (ca. 1938–39). As Jonathan Weinberg has noted, both convey desire in the context of death (Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde, New Haven: Yale University Press, 1993, 114–40). In the first, Hartley veils that desire, and its companion grief, in a compressed mass of military regalia, although the sheer weight of the forms and the black background… Full Review

In The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convent, James M. Córdova contributes to the current scholarly discourse about gender and identity formation in late-colonial Mexico through a multifaceted examination of monjas coronadas (crowned-nun) paintings, portraits of women at the time of their profession into the religious life. Expanding on previous research, Córdova investigates these images in the shifting world of viceregal Mexico and offers thorough analyses and new insights. Explaining their increased popularization in eighteenth-century New Spain, he asserts that these paintings became part of a broad effort to claim a distinct… Full Review

The publication of Stacey Sloboda’s Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain demonstrates the extent to which histories of Britain’s commercial past have broadened over the last fifteen years. In this period consumption, and more specifically ideas of luxury and novelty, have become key to the debate (see Maxine Berg and Helen Clifford, eds., Consumers and Luxury: Consumer Culture in Europe 1650–1850, Manchester: Manchester University Press, 1999; and Maxine Berg and Elizabeth Eger, eds., Luxury in the Eighteenth Century: Debates, Desires and Delectable Goods, Basingstoke: Palgrave Macmillan, 2003). In 2005, Berg’s Luxury and Pleasure in Eighteenth-Century Britain… Full Review