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In her innovative and elegant book, Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, Sonal Khullar reconstitutes the history of modernism in India as nimble artistic negotiations between present and past, East and West, crafts and fine arts, and individual and nation. Through Edward Said’s notion of “affiliation,” she pushes the history of art worlds beyond the bounds of the nation-state, education, or media to revive “the worldly conditions, or social and political horizons, of cultural production” (14). By attending to artists’ mediations, she models a new theory of writing art history. Khullar examines four canonical artists—Amrita… Full Review

Abuja, Nigeria—the capital city of Africa’s most populous nation—was master planned from the ground up in the last forty years in the shadow of a gigantic rock outcrop (Aso Rock) near the geographic center of the country. Other than these scant details, few in or outside of Nigeria know much else about what is one of the continent’s most powerful cities. Nnamdi Elleh has begun to address this long-overlooked space, in this work on the city’s architecture. The result is a book packed with material, but one organized in such a way that readers may struggle to sort through it. … Full Review

The exhibition Senses of Time: Video- and Film-Based Works of Africa focused on temporality shaped through the body. The exhibition was co-organized by the Los Angeles County Museum of Art (LACMA) and the National Museum of African Art (NMAfA) in Washington, DC, under the curation of Karen E. Milborne, Mary Nooter Roberts, and Allen F. Roberts. The genesis and development of the show began as a colloquium on time, which took place at the Sterling and Francine Clarke Art Institute at Williams College. The NMAfA display of Senses of Time occupied the Sylvia H. Williams Gallery and the… Full Review

Over the past thirty years, James E. Young, who recently retired from the University of Massachusetts Amherst, has studied and written on modern memorial art, most notably that devoted to the Holocaust. For much of his career, he held a joint appointment in English and Judaic studies at that university, and also served as the founding director of its Institute for Holocaust, Genocide, and Memory Studies. Over this time, Young has become a significant scholar in each of these fields. In three important books and countless essays, he continues to demonstrate the importance of cultural artifacts to the field of… Full Review

During the Renaissance, illustrated maps became important epistemological tools for Europeans seeking information about the inhabitants of the Americas. Surekha Davies’s Renaissance Ethnography and the Invention of the Human: New Worlds, Maps and Monsters considers the relationship between a variety of written and illustrated sources (travel accounts, costume books, encyclopedias, and prints) and maps. The book demonstrates how the latter visually synthesized—in one place—“ethnographic knowledge” that ultimately functioned to justify European colonialism, expansion, and enslavement of indigenous peoples. Addressing the period from roughly 1492 to 1650, and having considered some two thousand maps and atlases, primarily made and consumed in… Full Review

The questions that black males are asked each day by white America (or world consumers of blackness) are often debilitating in their reduction of our complex capacities and our ideologically inspired identities: questions that only scratch at the surface of a humanity forged by the depth of our roots, struggle, and emergent culture. These questions do not sincerely ask but seek to define the very nature of who we are. But, the questions that black males ask other black males are questions about soul searching; questions that begin to dismantle the myths and misconceptions that have evolved around race and… Full Review

Elizabeth Morán’s Sacred Consumption is a study of the place of food in Aztec ritual. The foods examined by Morán were ephemeral, and the performances that characterized ceremonial life in Tenochtitlan and its provinces are similarly elusive in the archaeological record. Fortunately for scholars, indigenous artists, often directed by European friar missionaries, created manuscript paintings that represent elements of Aztec ritual. These illuminated books constitute the primary visual evidence for Morán’s study, though a few works of preconquest stone sculpture are discussed as well. Reading these images in light of colonial-period texts leads to a wide range of assertions about… Full Review

Divine Violence, the fall 2017 exhibition at the University of Chicago’s Reva and David Logan Center for the Arts, centered on disruption—political and otherwise. The show was defined by a percussive assault of moving images, sounds, and associated ideas. Curated by Yesomi Umolu, it featured four works coproduced by the artist Cinthia Marcelle and the filmmaker Tiago Mata Machado: the single-channel videos Buraco Negro (Black Hole) (2008), O Século (The Century) (2011), and Rua de Mão Única (One Way Street) (2013), and the two-channel video Comunidade (e o outro processo) (Community [and the other process]) (2015–16). Organized in two… Full Review

In the edited volume Global and World Art in the Practice of the University Museum, scholars Jane Chin Davidson and Sandra Esslinger share several essays that trace the role of university museums in developing new ways of thinking about art within a larger, global context. This framework acknowledges the complexity of contemporary geopolitical and social interfaces and how these affect the production and reception of works of art. Occasioned by the fiftieth anniversary of the Fowler Museum UCLA, the book focuses on the museum’s relationship with the University of California Los Angeles as a means for grounding the… Full Review

Giorgio Vasari’s 1550 magnum opus, the Lives of the Most Excellent Painters, Sculptors, and Architects, created a very specific and biased account of the development of art in the early modern period. Artists such as Carlo Crivelli were decidedly absent. It has been the work of twentieth- and twenty-first-century historians to recuperate and reframe artists like Crivelli. Developed over the course of fifteen years, Thomas Golsenne’s erudite treatment of Crivelli’s oeuvre makes use of historical anthropology to investigate the artist with methods and approaches borrowed from social science, sociology, and philosophy. Golsenne, for example, borrows the term “material mysticism”… Full Review