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Hearts of Our People: Native Women Artists celebrates the works of North American Indigenous women throughout history and into the present. In selecting the 117 objects included in the exhibition, the curators, Jill Ahlberg Yohe and Teri Greeves (Kiowa), were determined to provide a comprehensive display that represented all geographical areas and a wide variety of media, from beadwork and basketry to video and performance art. They were guided by a team of native and nonnative artists, scholars, and curators, not only in selecting the works for the exhibition but also in ensuring that the narrative they presented challenged some… Full Review

FROM THE ARCHIVE: This summer, caa.reviews is revisiting reviews that relate to the social issues of the present, at a time when the field is taking them up in renewed ways. Today we highlight Outcasts: Prejudice & Persecution in the Medieval World, a 2018 Getty exhibition reviewed by Patricia Blessing. Full Review

Fig. 1 “Dissertations in Progress,” Art Journal 22, no. 3 (Spring 1963): 168 (published under fair use) In spring 1963, Art Journal,1 published by the  College Art Association (CAA), featured a new section, entitled “Dissertations in Progress.”2 It was introduced by a brief caveat that described the list as “tentative and incomplete” while promising that it would be augmented in future issues (Fig. 1). At that time, the editors of the journal could not have foreseen that this particular feature, which included dissertations being written at only five universities,  would remain a persistent yet greatly… Full Review

Struck by lightning at his Philadelphia house in 1745, Benjamin Franklin’s friend Gilbert Tennent penned a sermon on God’s “Majestick Voice in the Thunder,” a warning to those disputing divine power over the wicked and the good. “Who can stand before this Holy Lord God,” Tennent wrote, “when once his Anger begins to burn?” Franklin himself was experimenting with electricity nearby, wielding rods and bells, harnessing invisibilities in less prophetic but equally noisy ways. The alternate poles of “enchantment or enlightenment” (ix), as Michael Gaudio’s brilliant new book argues, tacking between sensory deception and revelation, colored both men’s understanding of… Full Review

FROM THE ARCHIVE: This summer, caa.reviews is revisiting reviews that relate to the social issues of the present, at a time when the field is taking them up in renewed ways. Today we travel to the Seattle Art Museum exhibition Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas in a review by Lacey Baradel. Full Review

The polysemous nature of the concept of race in the eighteenth century meant that while the term’s employment was widespread, its meaning was hardly fixed. Regardless, what united its many different usages was a consensus that it was defined by visual traits, thus making the visual arts one of the most important disseminators and delineators of racial information. As Anne Lafont states in her impressively researched and comprehensive L’art et la race: Race is indeed anchored in the body regardless of the will of those who are its carriers. . . . Its absence of categorical fixity during the… Full Review

Elizabeth Otto and Patrick Rössler’s Bauhaus Women: A Global Perspective tells the stories of forty-five female designers, artists, and architects who graduated from the renowned Bauhaus school of design, architecture, and applied arts. Each story offers an invigorating look at the artist’s process, exploring art and life as well as the confronting of self and society. The juxtaposition of these artists’ paradoxical dilemmas between individuality and cultural collectivity demonstrates that they deserve deeper understanding from us. They connect the Bauhaus to the wider world, as asserted by the authors—even though they do not clarify the specific ways such a connection… Full Review

FROM THE ARCHIVE: This summer, caa.reviews is revisiting reviews that relate to the social issues of the present, at a time when the field is taking them up in renewed ways. This week we revisit the exhibition Per(sister): Incarcerated Women of Louisiana with Jillian Hernandez. Full Review

Writing in 1964, the Algerian painter Mohammed Khadda (1930–1991) identified “that day in 1910 when the Russian artist [Wassily] Kandinsky created the first nonrepresentational work” as marking the birth of “nonfigurative (or abstract) painting.” (Note: For the sake of consistency, I have used the exhibition curators’ transliteration of artists’ names.) Published in Révolution africaine, the National Liberation Front’s weekly newspaper, Khadda’s piece was the first of three artists’ statements titled “Éléments pour un art nouveau” (Elements for a new art), in which the authors grappled with the question of the role of the artist in the postindependence state. While… Full Review

FROM THE ARCHIVE: This summer, caa.reviews is revisiting reviews that relate to the social issues of the present, at a time when the field is taking them up in renewed ways. Today’s highlight is Otherwise: Imagining Queer Feminist Art Histories by Amelia Jones and Erin Silver, reviewed by Alison Syme. Full Review