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The Crystal Bridges Museum of American Art floats between several different visions of itself. Like any museum, how the institution envisions its mission and future will affect the way it builds its collections, installs its exhibitions, and otherwise engages with its publics. The purpose here is not to suggest preferred goals and objectives for Crystal Bridges, but to evaluate its success in achieving the goals it seems to claim in the museum’s inaugural exhibition from its permanent collection, Celebrating the American Spirit: Masterworks from the Crystal Bridges Museum of American Art. This sprawling exhibition fills five expansive galleries (including… Full Review

So much controversy has surrounded the creation of the Crystal Bridges Museum that it almost inevitably colors the perception of its remarkable new building in Bentonville, Arkansas. One of the causes, of course, is the origin of most of the museum’s enormous endowment: the Walmart fortune. Even a cursory Google search quickly reveals the fault lines of the debate: detractors point out the hypocrisy of financing a philanthropic high-culture celebration of American art from the profits of a corporation known for its poor labor practices, cheap disposable goods, and outsourcing of production to China. Apologists argue that the real reason… Full Review

Few today would dispute the fact that the Japanese collective Gutai Art Association (1954–1972) is the most renowned postwar avant-garde movement coming out of East Asia. If, on the one hand, Gutai’s assertively internationalist attitude ultimately paid off, on the other, its members often paid a high price for embracing internationalism when what was expected from a Japanese avant-garde collective was mainly the particular and exotic. Ming Tiampo’s excellent Gutai: Decentering Modernism, the first English-language monograph on Gutai, explores Gutai’s internationalism as a structuring element in the group’s long and diverse creative trajectory. In doing so, the book contributes… Full Review

Among the many pleasures involved in viewing Richard Diebenkorn: The Ocean Park Series at the Orange County Museum of Art (OCMA) in Newport Beach, California, is the fact that this exhibition has come hard on the heels of State of Mind: New California Art circa 1970, a brainy, spirited exhibition that covered roughly the same time period and featured photographs, films and videos, performance documentation, and installation works representing the Conceptual art movement as it appeared in Los Angeles and the San Francisco Bay area. Galleries that had been filled with verbally oriented and often witty works that discarded… Full Review

Jacqueline Francis dedicates her book, Making Race: Modernism and “Racial Art” in America, to Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber, the three interwar-era artists who serve as her principle case studies. This gesture is not only touching (who among us doesn’t feel indebted to “our” artists?); it also indicates something about Francis’s stakes. Like so many studies of minority American artists before this one, Making Race is fundamentally a restorative project. But unlike earlier scholarship, which sought to admit more artists to the art-historical canon, Making Race pursues something different—and more exciting. Deploying the lessons of critical… Full Review

Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism, edited by Herbert L. Kessler and David Nirenberg, is devoted to the representation of Jews and Judaism in Christian art, with an emphasis on contemporaneous ecclesiastical anxieties on issues concerned with both Christianity and Judaism. The exceptions are one essay on a Jewish subject created by a Christian and another on the architecture of the Venetian ghetto. The essays are framed by Nirenberg’s introduction and final chapter, “The Judaism of Christian Art,” in which he discusses a major theme of the book: that Christians regard art made for… Full Review

David Clarke’s Chinese Art and Its Encounter with the World is composed of six essays in three sections: “Trajectories: Chinese Artists and the West,” “Imported Genres,” and “Returning Home: Cities between China and the World.” Earlier versions of five of the essays have appeared before, as has some of the information in the first. It is a good idea for a scholar to bring together individual essays and chronologically discontinuous views in a single volume since these then become more easily available for reference and present a kind of informational penumbra for the topics they discuss. The usefulness of this… Full Review

The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art, during its stop at the Crocker Art Museum, presented a panoramic display of drawing as an art form from the sixteenth to eighteenth century in Italy. It also included a fine selection of intaglio and woodcut prints. Drawn from the collection of Giuliano Ceseri—who has loaned his collection to the Georgia Museum of Art—and from the collection of the Georgia Museum, the exhibition, curated by Robert Randolf Coleman and Babette Bohn, presented a wide-ranging approach to works on paper from the period, and did so… Full Review

In Sensuous Surfaces: The Decorative Object in Early Modern China, Jonathan Hay strives to understand how the human body senses and interacts with ornament, or “pleasurable things,” as the essayist and comic writer Li Yu (1610–1680) put it. Hay imagines how the hand and eye connected with the shape and texture of a decorated cup or figurine, how a moving body experienced an “object landscape” in a residential interior where luxury goods were displayed and used. Moving outside conventional studies in connoisseurship and technology, Hay juxtaposes objects made from a variety of materials, ranging from ceramics and paintings to… Full Review

The newly commissioned, site-specific installation, Figura que defina su propio horizonte (Figure Who Defines His Own Horizon), by the Cuban-born artist José Bedia is an apt centerpiece to his career survey, Transcultural Pilgrim: Three Decades of Work by José Bedia. A diminutive figure in dark bronze—a trickster as well as a reference to the artist himself, with a horned head and smoking a cigarette—is chained by the ankle to a tree stump. The chain and stump are a restraint, but in the context of Bedia’s idiosyncratic iconography, they are also an umbilical or tether that links the artist to… Full Review