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Ella Shohat’s Taboo Memories, Diasporic Voices is a collection of essays written largely over a two-decade period spanning the 1980s and 1990s. Shohat contributed prolifically to discussions in the emerging knowledge domains of multiculturalism, postcolonial studies, and transnational feminisms; moreover, she did so in a rigorous and self-conscious manner, always probing the new paradigms in a critical way. The essays here record this engagement with transformations in the North American academy over the past couple of decades, and they demonstrate the work of an author who has vigilantly critiqued the post-Enlightenment legacies of an enduring Eurocentricism. Indeed, the collection functions… Full Review

Was the Bauhaus a great equalizer? Perhaps that idea was beside the point for its visionary founders, but they did have to confront modernity’s democratically inclusive trajectory, which has consistently pitted mass production and its resultant “low” culture against a reductive aesthetic resistant to populist incursions into the “high” art realm. It fell to the Bauhaus, that iconic institutionalization of avant-garde theory and practice, to attempt a fusion through an educational structure that sought to reconcile art and commerce (with a decided bent for the former). Always a subject for modernist art historians, the Bauhaus is under fresh scrutiny from… Full Review

Originating at the Blanton Museum of Art and organized by its Latin American curator, Gabriel Pérez-Barreiro, The Geometry of Hope features over 125 works produced by artists from Venezuela, Brazil, Uruguay, and Argentina between 1930 and 1970. A respected scholar in the field, specializing in Argentinian Madi art (one of the movements represented in the exhibition), Pérez-Barreiro has assembled the most comprehensive presentation to date of the alternative modernity that due to a wide array of factors—chief among them the influx of avant-garde European ideas, works, and people between and in the wake of the two World Wars—flourished in the… Full Review

Since the 1936 publication of Walter Benjamin’s groundbreaking essay “The Work of Art in the Age of Mechanical Reproduction,” the revolutionary impact of the photographic medium has been widely acknowledged, while the extent and nature of this impact has been much debated. Following Benjamin, some scholars have focused on photography’s effect on the nature and status of the art object; others have concentrated on its role in spectacle, on its ability to aestheticize everyday life, including the realm of politics, which is what Benjamin observed, and feared, in 1930s Germany. Part of this aestheticization of politics involved the visualization of… Full Review

It goes without saying that “naturalism” has played an absolutely central role in art-historical discourse. This is true in two broad senses. On one hand, there is artistic practice: artists have, in various ways, relied on the observation of the visible world in the creation of images. On the other, there is the standard art-historical narrative, articulated by scholars from Pliny through Vasari to the present, which posits a diagnostic role to the perception of naturalism, gauging the degree of an image’s naturalism to discern intention and meaning, and assigns particular works to one or another art-historical epoch. Jean Givens’s… Full Review

Essays in Context: Unfolding the Netherlandish Diptych serves as an excellent companion to the exhibition catalogue for Prayers and Portraits: Unfolding the Netherlandish Diptych, also edited by John Oliver Hand and Ron Spronk, along with Catherine Metzger (Washington, DC: National Gallery of Art; and New Haven: Yale University Press, 2006). The product of two roundtable discussions, its thirteen fine scholarly essays present a rich array of related topics. In the first essay, Victor Schmidt addresses the development of diptychs prior to 1400. He begins by showing that the term “diptychum” or “diptycha” originally referred to a set of… Full Review

The Age of Rembrandt: Dutch Paintings, organized by Walter Liedtke, Curator of European Paintings at the Metropolitan Museum, provides unparalleled opportunities for the enjoyment and study of Dutch art on a vast scale. Timed to coincide with Rembrandt’s four-hundredth birthday (2006) and the publication of Liedtke’s masterful two-volume catalogue, Dutch Paintings in the Metropolitan Museum of Art, this impressive exhibition puts on display every one of the museum’s 228 Dutch paintings produced from 1600 to 1800. Since normally only about a third of the collection can fit in the galleries at any one time, many of the Met’s… Full Review

“Imagine you are lying on Freud’s couch. What can you see?” This is the question that opens “Collector, Naturalist, Surrealist,” John Forrester’s classic essay on the collecting habits of Sigmund Freud (Dispatches from the Freud Wars, Cambridge, MA: Harvard University Press, 1997, 107). In “The Image in Psychoanalysis and the Archaeological Metaphor,” the lead essay in her edited collection Psychoanalysis and the Image, Griselda Pollock returns to this scene, turning Forrester’s question around to muse: “As Freud sat in his analyst’s chair, what did he see?” (16) The one thing that neither the patient nor Freud could… Full Review

From its early dismissal by established critics to its rapid embrace by the public-at-large, Pop art represented a dramatic turning point in the development of postwar art. For that reason, it has whetted scholarly interest and has been the focus of numerous art-historical studies over the years. In her eminently readable and engaging book Pop Art and the Contest over American Culture, Sara Doris dives into the debates that greeted Pop upon its emergence in the late 1950s and that have continued to the present day. Doris aims to provide a deeper and more nuanced reading of Pop art… Full Review

The exhibition Déjà Vu? Revealing Repetition in French Masterpieces at the Walters Art Museum challenges many of the assumptions that both scholars and the general public have about the importance of the original in nineteenth- and early twentieth-century French art. Beginning with Jacques-Louis David and ending with Henri Matisse, the exhibition investigates the variety of ways that artists engaged in the act of replicating their works of art. From studio copies, to prints for commercial distribution, to variations on a theme, numerous types of repetition are brought to the fore in order to unsettle convictions about originality. In so doing… Full Review