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Soviet architectural modernism is characterized sometimes as unrealizably utopian, and other times as an expanse of drab housing blocks that failed to take account of their human users. Tijana Vujošević begins Modernism and the Making of the Soviet New Man by noting that neither view is exactly true, and further that the truth was, at least arguably, precisely the opposite of both: a radical transformation of the built environment was in fact realized in the first decades of the Soviet Union, and the most extraordinary aspect of early Soviet design was its attention to how its human inhabitants would themselves… Full Review

In the summer of 1967, as the first national conference on Black Power convened in Newark, New Jersey, and the city of Chicago awaited the unveiling of a monumental sculpture by Picasso in the Chicago Loop, a group of artists—painters, photographers, and graphic designers affiliated with the recently formed Organization of Black American Culture (OBAC)—created a mural on Chicago’s South Side, at the corner of Forty-Third and Langley. The mural, which was unveiled in late August, featured images of prominent African Americans grouped into a variety of professional categories: statesmen, religious leaders, rhythm and blues musicians, jazz musicians… Full Review

Imagine an art history of either South Asia or Europe where Bichitr (active circa 1615–50) and Rembrandt Harmensz. van Rijn (1606–69) share the same discursive space. The cover of Rembrandt and the Inspiration of India provokes us to envision precisely that: an art history where a painting and a drawing of the Mughal emperor Shah Jahan by two contemporaneous artists—one from South Asia and the other from Europe—can coevally reside alongside each other. In a way, the cover functions as an introduction to the larger art historical intervention that the exhibition catalog aims to perform: namely, investigating questions of equivalence… Full Review

This welcome new volume surveys some fifty diaspora artists working in the United States and United Kingdom and more than 150 of their works. It elaborates the author’s larger project of developing a critical bibliography that alights on both contexts and, in so doing, seeks to articulate a working “Black lexicon of liberation,” primarily by drawing on the words of (and well-chosen objects by) the artists in question. In this sense, Stick to the Skin occupies a place somewhere between textbook and sourcebook. Indeed, rather than seeking to have the final word on contemporary diaspora art, Celeste-Marie Bernier openly posits… Full Review

Rethinking Art’s Histories, the Manchester University Press publication series launched in 2010, carries a substantial catalog of unconventional and experimental scholarship that breaks away from period- and geography-centered approaches to art history. Alpesh Kantilal Patel’s Productive Failure: Writing Queer Transnational South Asian Art Histories is a valuable contribution to this growing body of literature that attempts to expand the parameters of art history and its constituent subfields, employing “affirmative criticality” and “productive failure” as methods to produce a more ethical, entangled, and transparent practice of writing (art) history. The title of the book provides a sense of this messier, expanded… Full Review

Maria Lassnig: Woman Power, curated by Wolfgang Drechsler and displayed in the Andito degli Angiolini at Palazzo Pitti, showcased twenty-five artworks by the Austrian painter Maria Lassnig (1914–2014). The paintings that were in the exhibition, which are either self-portraits or still-life pictures, examine the complex phenomenology of the material relationships between human flesh, animals such as tigers and birds, and diverse objects including scissors, musical instruments, plastic wrap, and fresh vegetables. Drechsler’s selection of twenty-five paintings spanning from 1960 to 2010 also traces Lassnig’s interest in using both abstraction and figuration to paint the here and now. As she… Full Review

In the 1960s the Soviet government undertook a series of political liberalizations leading to a brief period of economic growth, relative intellectual freedom, and improved standards of living. This was Khrushchev’s “Thaw,” a time infused with excitement about the imminent completion of the “construction of communism,” paired with the even more audacious “creative transformation of the world” (Petr Vail and Aleksandr Genis, 60e: Mir Sovetskogo cheloveka, as cited in Cubbin, 29). In this atmosphere of liberated scholarly and artistic thinking, Soviet post–World War II design practices emerged, including the work of the Central Educational and Experimental Studio (the Senezh… Full Review

In her compelling social history of photography, Study in Black and White: Photography, Race, Humor, Tanya Sheehan reaches beyond photographs and photographers to examine humor books, minstrel shows, satirical illustrations, advertising, and print culture to reveal the ways that early photographic discourses using humor constructed concepts of race and photographic practice. Across five chapters of case studies, Sheehan demonstrates how written, performed, and sketched humor about photography and jokes made with photographs became avenues for the dehumanization of black and indigenous peoples as well as a route to forge and assert whiteness. Continuing a discursive inquiry into early… Full Review

Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980 was an archive of radical potential. The highly anticipated architecture exhibition at the Museum of Modern Art (MoMA) included over four hundred drawings, plans, photographs, models, and film reels related to the construction, ideological and physical, of the second Yugoslavia (Socialist Federal Republic of Yugoslavia). Unlike in MoMA’s previous architecture exhibition Latin America in Construction: Architecture 1955–1980 (2015), which used MoMA’s own collection to supply the majority of objects on display, the materials showcased in Toward a Concrete Utopia were the result of extraordinary coordination by the curators and researchers to assemble… Full Review

“I wanted a museum that was a tool to help people find a useful and useable history that would enable them to become better citizens; a museum that would explore and wrestle with issues of today and tomorrow as well as yesterday,” writes Lonnie G. Bunch III in A Fool’s Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump (9). Bunch wrote the passage while he was the founding director of the Smithsonian’s nineteenth and newest museum. Then, in the months leading up to the book’s publication and just two… Full Review