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Walking into the Walker Evans: Depth of Field exhibition at the High Museum, one encountered three distinct gallery spaces that effectively chart the path of Walker Evans’s (1903–1975) career from his early work to his last images. Although his Farm Security Administration (FSA) photographs form the core of the exhibition—pictures that document the effect of the Great Depression across the United States and especially in the American South—the impact of Depth of Field is that it demonstrates the development of a highly personalized and exacting style over the course of Evans’s lifetime. He skillfully captured people and places… Full Review

To produce the photographs in his Theaters series (1975–2001), Hiroshi Sugimoto brought his still camera into darkened movie palaces and opened the shutter for the full duration of the feature. What appears in the image is something that was never quite there—a glowing rectangle of pure white light caused by the superimposition of every frame of the film during the hours-long exposure. The extended time of capture reveals something else, something that was always there but hidden or resolutely ignored during the screening: the theater itself and its impressive, opulent architecture (231). It was cloaked in an intentional and studied… Full Review

Medieval works of art were made to fit into their specific ecclesiastical or secular contexts. Since the eighteenth century, such objects have been removed from their original intended locations and subsequently destroyed or placed into private or public collections. Detached from original context and use, the perception and presentation of medieval art has brought about an inherent tension: on the one hand this process has led to an understanding of medieval objects as standalone artistic creations, while on the other hand such a process is accompanied by a growing discomfort among curators with attempts to recontextualize objects back into their… Full Review

Research on the relation between theater and art in the late Middle Ages relies on a rich history, first highlighted in the work of Emile Mâle and Gustave Cohen at the beginning of the twentieth century. The two prominent scholars started a long tradition of looking at exchanges between art and theater, as well as at the perceived “realism” of these media. In her latest book, Laura Weigert proposes a different understanding of theater and art that concentrates on the realms of the fifteenth- and sixteenth-century French kings and Burgundian dukes. Weigert disrupts accepted thinking that separates these media and… Full Review

The Hudson River School painter Asher B. Durand makes a bold declaration at the end of Susan Rather’s The American School: Artists and Status in the Late Colonial and Early National Era. Admiring European pictures during a tour abroad, Durand nonetheless hungers for “a sight of the signboards in the streets of New York” (242). He would have relished the stunning cover of Rather’s book, which reproduces five jaunty top hats from a nineteenth-century hatters’ signboard. This detail is an apt metaphor for The American School, which follows the careers of five painters (and a cast… Full Review

Piecing together a decade-long friendship via artworks, letters, photographs, critical reviews, interviews, and exhibition history, Kirsten Swenson’s Irrational Judgments: Eva Hesse, Sol LeWitt, and 1960s New York adds new scholarship to an already well-documented friendship. This book itself is an outgrowth of the 2014 exhibition organized by the Blanton Museum of Art, Converging Lines: Eva Hesse and Sol LeWitt, but Swenson’s linear reading of their friendship, begun when they were both near the start of their careers, reveals that their art was transformed as much by the times as by each other. Since much of the information in … Full Review

In asking how best to characterize and periodize the 1990s, Philip Wegner proposes the “counterintuitive asymmetry” of beginning the decade with the fall of the Berlin wall, an event “which is in fact an ending,” and ending with 9/11, an event which he positions as “the opening of the true post-Cold War global situation” (Life Between Two Deaths, 1989–2001: U.S. Culture in the Long Nineties, Durham: Duke University Press, 2009: 28). The “long 1990s” (1989–2001), Wegner surmises, was a time caught “between two deaths,” a time during which certain kinds of histories (U.S./European geopolitics) were centralized and others… Full Review

What is Neo-Ancestralism? The phrase invokes heritage and cultural memory, but it also hints at a romanticization of the past. Demetrius L. Eudell tackles this concern in his foreword to SoulStirrers: Black Art and the Neo-Ancestral Impulse, arguing that the turn to the past of the artists documented in the book does not reflect the desire for an impossible return, but rather an interest in the “dynamic invention of new cultural forms” that have emerged from Africa by way of the horrors of the Middle Passage (xii). Over the course of SoulStirrers, H. Ike Okafor-Newsum carefully nuances the… Full Review

Because of its large size relative to a human body, a building can only be known from partial encounters: the view of a particular facade, the transition from exterior to interior when crossing the threshold, the sensation of being inside one of many rooms. The mind must assemble these fragments into a multidimensional panorama to understand the structure as a whole. Even so, aspects remain unknown: the appearance of the roof from above, the thickness of a wall, the view from a clerestory window. An architectural model represents a building at a reduced scale. Because of the new dimensional… Full Review

Joseph Leo Koerner is a verbal virtuoso, a master of alluring alliteration. Bosch and Bruegel: From Enemy Painting to Everyday Life is spangled with melodious word combinations like “devil dangles,” “seeming secrets,” “farthest fringe,” “hellish hill,” “sylph-like soul,” “shunning the sun,” “spiders spin,” and “rafters of the ruined hut.” Indeed, the title, with its catchy pairings of Bosch and Bruegel, enemy and everyday, already employs this stylistic device, signaling the wordplay within. This is a timely book. The date of publication, 2016, was the five hundredth anniversary of the death of Jheronimus Bosch. The year 2019 will be the… Full Review