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More than a formal practice of using earth as material, Land art has from the beginning been concerned with social, political, and cultural issues that cannot be separated from the land we inhabit. We know that “landscape” is an ideologically invested term, and artists dealing with their relationship to the land are by no means unique to contemporary art. However, Nancy Holt: Sightlines demonstrates that in the 1960s and 1970s the expansion of media in art played a central role in how Nancy Holt (b. 1938) interpreted the landscape. This exhibition comes at an opportune moment, building on current interest… Full Review

Nineteenth- and twentieth-century Western readerships closely identified the ancient Maya with dance and bodily performance. The theme of dance is implicit in the sinuous orientalism of Frédéric de Waldeck’s renderings of Palenque relief sculpture published in 1866 (e.g., “The Beau Relief”: see Frédéric de Waldeck and Brasseur de Bourbourg, Palenqué et autres ruines de l’ancienne civilisation du Mexique, Paris: Bertrand, 1866, plate 42). The animated pose of a maize god statue from Copán Temple 22 prompted English colonial administrator and explorer A. P. Maudslay to call the figure “the singing girl” in his documentary volume of 1889 (Alfred P… Full Review

Sarah Betzer’s Ingres and the Studio: Women, Painting, History opens with a detail of the head of the Valpinçon Bather (1808). Turning the page, the reader is confronted with the steady gaze of Madame de Moitessier, the subject of Jean-Auguste-Dominique Ingres’s striking 1856 portrait. This pairing visualizes the central problem Betzer seeks to engage: how did Ingres, a history painter who decisively turned attention to the eroticized female form, conceive of portraits of women? And what did the women who sat for these portraits desire to see in them? Betzer’s book is a detailed and sophisticated examination of… Full Review

Prior to the opening of the Musée du Louvre’s spectacular new galleries for Islamic art in September 2012, this renowned collection largely had been in storage for the last thirty-five years, with brief reinstallations in 1987 and again in 1993. After such a long and much anticipated wait, the galleries did not disappoint this reviewer; rather, they absolutely dazzled. Five lengthy, successive visits were just enough to get a sense of the sheer depth of this remarkable assemblage, which encompasses the breadth of Islamic art, traditionally defined as extending from Spain to India between the seventh and nineteenth centuries.… Full Review

“See the largest selection of Rembrandt paintings assembled in the United States. . . . Ever.” Such ads helped make Rembrandt in America one of the most successful exhibitions in the history of the Minneapolis Institute of Arts. In its last days, demand was so high that an aggressive scalper tried to sell his extra ticket to a senior administrator as she returned from lunch. The show’s success was all the more remarkable given its genesis: curatorial conversations about the links between collecting and connoisseurship. With those links as its defining concept, Rembrandt in America, curated by George S… Full Review

The eerie title of Rachel Poliquin’s beautifully illustrated and designed book, The Breathless Zoo, first in the exciting new “Animalibus” series edited by Nigel Rothfels and Gary Marvin, immediately calls attention to the contradictions at the heart of its subject. Taxidermy, which can be traced at least to the sixteenth and seventeenth centuries, is a process whereby animals are killed in order to be preserved and displayed, and in which their deaths—deliberate and celebrated in some instances, accidental or mourned in others—linger in the background of that display. The result is an irresolvable tension between the live animal taxidermy… Full Review

Once in a while an exhibition comes along that achieves many things. It illuminates past and present, and does so by creating a viewing experience both beautiful and instructive. All the better when such an exhibition also brightens up a blind spot in the history of art. The exhibition at the Metropolitan Museum of Art entitled Extravagant Inventions: The Princely Furniture of the Roentgens achieved this. Curated by Wolfram Koeppe, Maria Kellen French Curator of European Decorative Arts, the show was a monographic investigation of father-and-son furniture makers Abraham (1711–1793) and David Roentgen (1743–1807), whose workshop in the German town… Full Review

In their introduction to The Photobook: From Talbot to Ruscha and Beyond, Patrizia Di Bello and Shamoon Zamir make a refreshingly straightforward proposition about the historical relationship between the photograph and the printed page: “Ever since the publication of Henry Fox Talbot’s Pencil of Nature (1844–46) . . . the home of the photograph has been the book as much as the gallery wall. It could even be argued that the book is the first and proper home of the photographic image from which it moved out to take up residence in the fine art gallery and the modern… Full Review

The market that readers of The Rise of the Art Market in London, 1850–1939 encounter is not one driven by an invisible hand. In lieu of focusing on quantitative analyses of the “fiscal exchange value of the work of art” (15), the volume’s editors and contributors trace the tacit, coordinated, and often failed activities of myriad actors—dealers, auctioneers, collectors, painters, museum trustees, the art presses—that underpinned the development of London’s art market within a legible geographical terrain from the mid-nineteenth century to the interwar years. The collection thus privileges the theoretical parameters of “cultural geography” and the methods of art… Full Review

"What is alive anyhow?" This is one of the simple, troubling, and eternal questions posed by Casey Gardner's artists' book, Body of Inquiry. Her response is anything but simple. Partly inspired by the Musée des arts et meétiers, a labyrinth of scientific instruments and investigations in Paris, Gardner creates a complex multi-layered work combining the museum, her elementary science classes, technical facts, and an anatomical model called Torso Woman with her speculations on life, science, and death. The result is truly surprising. In the colophon Gardner states that "this book has been on my mind for quite some… Full Review