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What does it mean to say that an artwork is “global” or “contemporary”? Such claims, which are often both implicit and based on unreflective judgments, are nothing less than a condition of possibility for virtually any kind of discourse or practice related to contemporary art. Yet despite the ubiquity or even the necessity of “the global” and “the contemporary,” it is by no means clear how these terms function rhetorically; it isn’t even clear that they refer to determinate concepts or that they can be distinguished analytically. This intense ambiguity presents severe hazards for those who wish to operate critically… Full Review

The mutual imbrications of race, space, and visuality that are a shared preoccupation of art history, cultural studies, critical theory, media studies, and anthropology come into disturbingly vivid relief in the story of the colonial-era cemetery whose long-buried past and recent transformation into the first national monument to memorialize US slavery form the subjects of Andrea Frohne’s fascinating book, The African Burial Ground in New York City: Memory, Spirituality, and Space. Over the course of the eighteenth century, over 15,000 deceased African Americans, slave and free—perhaps as many as 20,000, according to some estimates—were interred throughout roughly 6.7 acres… Full Review

In Motherhood and Meaning in Medieval Sculpture: Representations from France, c. 1100–1500, Marian Bleeke’s goal is to explore what medieval sculptures “have to say about medieval women’s experiences of motherhood” (1). She asserts that “these sculptures become sites where medieval women could consider their own maternal experiences and the meanings those experiences held for them” (3). In this study, the author makes a powerful case for exploring the potential experiences and perspectives of those people who have limited presence in the medieval textual record—a rather large, but decidedly understudied portion of the medieval population. It remains a shortcoming… Full Review

Diana Bullen Presciutti’s Visual Cultures of Foundling Care in Renaissance Italy is a sharply focused look at the figurative imagery deployed by hospitals caring for orphaned and abandoned children. Hospitals in Renaissance Italy have long been a subject of research: John Henderson’s The Renaissance Hospital: Healing the Body and Healing the Soul (2006) is a recent example of broad treatment, and Il mercante, l’ospedale, i fanciulli: La donazione di Francesco Datini, Santa Maria Nuova e la Fondazione degli Innocenti (eds. Stefano Filipponi, et al., 2010) is an example of specialized institutional studies. Historians have sought to chart the emergence of… Full Review

The chiaroscuro woodcut has always occupied an awkward and somewhat uncertain place in the history of prints. The technique employs multiple superimposed woodblock impressions in different colors to create printed images with tonal variation. Although the technique was developed by Lucas Cranach, Hans Burgkmair, and Hans Baldung Grien in Germany in the early years of the sixteenth century, most chiaroscuro woodcuts were produced in Italy. Between ca. 1516 and 1610, it is estimated that approximately two hundred such woodcuts were produced in Venice, Rome, and elsewhere on the Italian peninsula. Even allowing that there may be a number of lost… Full Review

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