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One might expect an exhibition focused on ten years of an artist’s practice to present a narrow slice of work, a partial—unsatisfying, even—picture of a lifelong creative evolution. Such a focus may seem best presented in book form. Yet Niki de Saint Phalle in the 1960s at the Museum of Contemporary Art San Diego (co-organized by the Menil Collection in Houston) exemplifies how a focused art historical examination of a particular portion of an artist’s career can make a successful exhibition. Saint Phalle is perhaps an especially noteworthy subject for such a presentation—over the course of a decade, changes in… Full Review

There can be a tendency to portray Francisco Goya—frequently celebrated as the last of the old masters and the first of the moderns—as an artist existing outside of time. Goya’s Graphic Imagination firmly situates Goya in his artistic and cultural milieu while simultaneously teaching us to look closely and marvel anew at the boundless imagination and technical prowess of his graphic production. The catalog’s associated exhibition (which this author did not see) drew from the Metropolitan Museum of Art’s remarkable holdings of Goya’s graphic work with supplemental loans from the Museo Nacional del Prado, Museum of Fine Arts, Boston, New… Full Review

Painting, History and Meaning is an ambitious book that seeks to redress conventional understandings of temporality within the study of contemporary painting. Craig Staff takes his “interpretative framework” (4) from the philosopher Jean-François Lyotard’s notion that painting occupies several “sites of time” simultaneously. Staff seeks neither to replicate the arbitrary attitude to temporality apparent in some works of postmodern eclecticism nor to reduce painting to the linear history of progress inherent in modernism and modernist criticism. His approach is rather to construct an alternative that opens up the differences in time inherent in the object that is the painting. Drawing… Full Review

Contrary to the legal maxim that there were no enslaved people in France, during the reign of Louis XIV acts of enslavement were visualized in an array of artistic media. For instance, Charles Le Brun’s design for the sculptural ornamentation of the stern of the flagship Royal Louis (ca. 1680) features a gilded bas-relief of the king in the guise of a Roman conqueror, flanked by two manacled figures whose characteristic topknot and turban respectively identify them as Turcs; beyond allegory, this image invokes a real practice of enslavement. Art historian Meredith Martin and historian Gillian Weiss confront the… Full Review

Much of the literature engaging the repatriation of museum collections has focused on claims made by postcolonial nation-states, or by Indigenous communities in settler-colonial contexts such as the United States, Canada, Australia, and New Zealand. Latin America, specifically, has been relatively absent from these debates because of the enduring legacies of Indigenism as a key politics of nation making, justifying the appropriation of Indigenous cultural production in favor of the nation. The very few instances of repatriation in the region have been negotiated between specific museums and private collectors, who have returned objects to countries of origin, rather than through… Full Review

In recent decades scholars of Latin American cultures have extensively examined the complexities of nation building from multiple disciplinary viewpoints. Natalia Majluf’s Inventing Indigenism: Francisco Laso’s Image of Modern Peru expands this discussion, focusing on Peru as an emerging nation tangled within the development of Indigeneity. She establishes a core premise of the book with the opening statement: “Throughout this book the term Indian refers fundamentally to the object of indigenist discourse, an abstraction that must be distinguished from the indigenous populations that the term purportedly designates” (n.p.). Subsequent pages present a broad range of information and theoretical perspectives on… Full Review

Sophie Taeuber-Arp: Living Abstraction was an exhilarating and expansive exhibition (and accompanying catalog) of the artist’s uniquely syncretic practice. Organized by Anne Umland (Museum of Modern Art), Walburga Krupp (independent curator), Eva Reifert (Kunstmuseum Basel), and Natalia Sidlina (Tate Modern), the project covers Taeuber-Arp’s nearly thirty-year career between World War I and World War II. As installed at MoMA, the exhibition was a knockout. It offered a thrilling vision of the artist’s work at every stage of her career—a presentation strikingly emancipated from hierarchies of patriarchy and media. The most surprising decision was the almost total exclusion of works by… Full Review

In the fractured social landscape of the United States, as we move into 2022, questions of identity haunt us. Identity politics, individual choice, the boundaries of the body and the state are all contested and unstable. This terrain of instability, which can feel like a collapse of the aesthetic projects of both modernism and postmodernism, is an opportune moment for investigating the continued significance of portraiture. Left Side Right Side, at Jacksonville’s Museum of Contemporary Art, adroitly gathered works in a variety of media that address and contest the meaning and use of the portrait in the twentieth and… Full Review

The spare beauty and formal patterning of succulents and magnolia blossoms are hallmarks of Imogen Cunningham’s most celebrated photographs. But most fascinating in Imogen Cunningham: A Retrospective, recently on view at the Seattle Art Museum (SAM), was the combination of clever form and psychological intensity in her portraits and nudes. Cunningham’s high-contrast close-up of Martha Graham from 1931 highlights the inward focus of the dancer’s mind as equal in importance to the expressive physical gestures she performs. The striking image of Graham, eyes closed with a neutral expression, conveys intense concentration in the act of translating emotion into… Full Review

The term “autotheory” first caught my eye in late 2019, if I am remembering pre-pandemic time correctly. I had just finished Heather Christle’s lyrical The Crying Book (Catapult, 2019) during a particularly rough and emotional period in my life, when I often found myself weeping or full-on crying in the kitchen, what Christle named “the best—I mean the saddest—room for tears.” At the time, I was a senior fellow at the Metropolitan Museum of Art, simultaneously working through personal loss while generating new words around Hannah Wilke’s performance art from the 1970s. Working on Wilke necessitates recognition of the deep… Full Review