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It is a testimony to the esteem in which Peter Sutton and Marjorie Wieseman are held in the art world that they were able to find enough oil sketches by Peter Paul Rubens for an exhibition in the United States in 2004—the most competitive “Rubens” year in recent memory. Drawn by the Brush: Oil Sketches by Peter Paul Rubens is the first exhibition dedicated solely to Rubens’s oil sketches since the one Egbert Haverkamp-Begemann organized in Rotterdam in 1953–54. Although originally planned to include loans solely from U.S. and Canadian collections, the exhibition was expanded with a few choice pieces… Full Review

Some things never go out of style. One of those is Parthenon scholarship; a year does not pass without the appearance of books and articles devoted to this most venerable of Greek monuments. One would think that there are no more questions to be asked, no more answers to be proposed, but this is decidedly not the case. The Acropolis restoration project alone, active since the 1970s and spearheaded by Manolis Korres, constantly brings new information to light, to say nothing of new methodologies and technologies that inspire one to look at the familiar in new ways. … Full Review

France’s defeat by Prussia in 1870, closely followed by an agonizing civil insurrection, led to the christening of that period as the country’s année terrible. While 1870–71 marks a crisp line for historians between the Second Empire and the Third Republic, the events of the Prussian siege of Paris from September 1870 to January 1871 have not been interrogated for their art-historical significance. Hollis Clayson’s groundbreaking work, Paris in Despair: Art and Everyday Life under Siege (1870–1871), provides just such an interrogation. Clayson seeks to complicate social art histories that read artists only as “exemplars of a collectivity… Full Review

It would appear that Jack Burnham’s 1968 claim that “a ‘systems esthetic’ will become the dominant approach to a maze of socio-technical conditions rooted only in the present” was accurately visionary. In Open Systems: Rethinking Art c. 1970, curator Donna De Salvo has put this concept of a “system” to work as an organizing principle around which to understand anew significant trends in art produced during the years bracketing 1970. The choice was a good one on two counts. First, there has been much recent interest in the art of the period, as high-profile retrospectives of Robert Smithson, Dan… Full Review

One thought-provoking passage from the introductory wall panel at the entrance to Los Angeles’s Museum of Contemporary Art’s recent exhibition, Visual Music: Synaesthesia in Art and Music Since 1900, read as follows: “Music offered a model to which art might aspire: an art based on a language of abstract form that evokes limitless space and evolving time, in short, ‘visual music.’” This brief passage makes some challenging and complex claims for the broad category of visual art as it relates to the equally broad category of music. One clear precedent for these claims can be found in the writing… Full Review

The intersection of space and place occurs on shifting sands at the borders of philosophy and aesthetics. This is not to suggest a lack of clarity about either way of knowing, but to make a claim about the fuzziness of the epistemological boundaries that the debate about space and place must necessarily engage. Edward Casey’s book Representing Place situates itself within the din of geographers, anthropologists, sociologists, architects, and philosophers rallying under the postmodern banner of place over space. For some time now his work has entered the fray. This, the third in a trilogy of books that includes Getting… Full Review

In the 1600s, a convert from Roman Catholicism to the new Protestant faith might have felt disconcertingly bereft of the supportive community of saints in whose company she or he was accustomed to encountering the divine. For women, one of the greatest challenges must have been the loss of the Virgin Mary as empathetic listener and spiritual guide. Yet Martin Luther sternly condemned belief in the intercession of saints as a reliance on works rather than faith to procure salvation, and John Calvin adamantly rejected the mediatory role of saints, along with the veneration of their relics and images, as… Full Review

The construction of historical memory has been a critical issue for photography since the medium’s emergence as a method of mass reproduction and dissemination. German photographer Thomas Demand’s work addresses the question of veracity that remains at the heart of photography’s role in shaping the representation and understanding of history. His work interrogates this concern through a two-stage process that transforms politically charged subject matter from appropriated mass-produced photographic image to sculptural installation to a final life-scaled photograph made by Demand. That he takes on photography’s contested relation to material reality now, at a moment when the cultural field is… Full Review

The 60s: Montreal Thinks Big is the catalogue accompanying an exhibition of the same name, which was on view at the Canadian Centre for Architecture (CCA) in Montreal from October 2004 to September 2005. The catalogue presents a new study of a significant period of change in a major North American city. Like other CCA catalogues, it is a carefully produced book with high-quality illustrations. It includes a fascinating collection of visual material, and the essays are valuable contributions to the literature on architecture and urban planning in the 1960s, as well as to scholarship on Montreal. The project focuses… Full Review

This deluxe two-volume boxed set is a catalogue raisonné documenting Ilya Kabakov’s important and influential work as an installation artist. Yet in keeping with the current practice of institutional critique, which turns every corner of the institution of art into an exhibition space in order to make those corners visible in a new way, it is much more. Included are descriptions of 155 installations executed between 1983 and 2000, along with preparatory drawings, installation photographs, and information about the exhibitions in which they appeared and the museums that own them. The bulk of the book consists of extensive commentaries by… Full Review