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Boris Groys’s Art Power brings together fourteen essays published between 1997 and 2007, and one previously unpublished essay, no date. It ranges over intellectual positions promulgated since the Enlightenment, so the text will be familiar to readers of long-standing disputes about concepts of the modern, the new, the different, the autonomous, the identical, the heterogeneous, et al. All of the essays are written in a philosophical tone, some with astute juxtapositions of art and politics. There are good chapters on Hitler and art and Stalinist dictates in the Soviet Union. Given space limitations, I can only focus on some of… Full Review

Erina Duganne’s The Self in Black and White offers five overlapping case studies of photographic projects created in and around New York City during the postwar period. In four chapters and an epilogue the book explores the photographic practices of the African American Kamoinge Workshop; Bruce Davidson’s “American Negro” project and the Office of Economic Opportunity’s “Profiles of Poverty” exhibition; Davidson and Roy DeCarava’s civil rights photography; DeCarava’s photographs of Harlem; and Dawoud Bey’s “Harlem USA” project. The chapters work together to explore the relational nature of selfhood as expressed through photographic practice. Duganne’s book is an ambitious and… Full Review

William Holman Hunt (1827–1910) lived long enough to see his role as founder of the Pre-Raphaelite Brotherhood embraced and dissected. Like John Everett Millais, he was later charged with abandoning his early revolutionary artistic goals and pandering to mainstream taste. Hunt’s popularity represented less of a movement away from early idealism than a gradual refinement and elaboration of it, and the public came to love the work that resulted. A catalogue accompanying an exhibition with the same title, Holman Hunt and the Pre-Raphaelite Vision offers new insights into how this process unfolded in ten essays, which discuss Hunt’s work from… Full Review

Anne Dunlop’s fascinating volume on domestic wall painting in Italy in the fourteenth and early fifteenth centuries contributes to the study of early Renaissance art in several overlapping ways. Most immediately, it introduces the reader to a group of little-known decorative complexes in private residences throughout the Italian peninsula, although concentrated in its northern areas. Dunlop gathers surviving cycles of wall paintings that are neither religious nor civic, using the term “secular” as a kind of synonym for domestic. None of these works has yet entered the standard canon used to understand the period. In assembling and examining this corpus… Full Review

In Winslow, Arizona, an immigration inspector stopped a consular official and asked him to produce identification. Despite the card provided, the inspector doubted the official’s status and demanded to see a laborer’s certificate, perhaps hoping to verify identification through the photograph that was mandatory on such certificates. Although this scene sounds like it could be taking place today under SB 1070, the exchange occurred in 1903, and the consular official was not of Mexican descent. During the period of Chinese Exclusion in the United States, the government targeted Chinese not only at the borders but within the country’s interior as… Full Review

The portrait, defined here as an accurate physiognomic likeness of an individual rendered in an independent image, has been seen as a clear marker of the differences between the representational strategies and priorities of the medieval period and the modern. Indeed, as Stephen Perkinson notes in his introduction to The Likeness of the King, it is tempting to understand “the introduction of physiognomic likeness as a visual symptom marking the triumph of the self-conscious individual of the Renaissance over the anonymity and corporate identities of the Middle Ages” (6). Perkinson counters this with a detailed exploration of how the… Full Review

Diane Wolfthal’s In and Out of the Marital Bed: Seeing Sex in Renaissance Europe is yet another beautiful book from Yale University Press. It features a delicious picture on the dust jacket cover of a man and a woman fully covered (well, almost—there have to be openings in their clothing somewhere), making love in a beautiful bed, as another couple peeks through a curtain in order to watch. Meanwhile, a cute little dog at the side of the bed turns its head to observe the voyeurs. In other words, we watch the dog watching the couple watching the lovers. Actually… Full Review

This lucid, thoughtful, and remarkably terse study provides extensive insight into a variety of subjects: not only into photography of the Japanese American internment during World War II, but also the functions photography can be made to serve in defining loyalty and security risk in other wars, and the authenticity and force of documentary photography in general. Jasmine Alinder, who teaches history at the University of Wisconsin/Milwaukee, is a sophisticated photography critic able to make complex arguments without the jargon that so often characterizes cultural criticism today. Her book can thus serve as a fine introduction to some of the… Full Review

Giovanni Francesco Barbieri, known as Il Guercino (“the squinter”), was born in 1591 in Cento, a small town between Ferrara and Bologna, and died in Bologna in 1666. Born a generation after the Carracci, whose works influenced him, Guercino soon developed a personal style noteworthy for combining naturalism with dramatic chiaroscuro effects. From Cento, he produced paintings for such patrons as Cardinal Jacopo Serra, papal legate to Ferrara; Ferdinando Gonzaga, duke of Mantua; and Cosimo II de’ Medici, grand duke of Tuscany. Guercino was enticed away from Cento only when his patron Cardinal Alessandro Ludovisi was elected Pope Gregory XV… Full Review

In her chapter on Emilia Francis (later, Lady Dilke), Colleen Denney writes that “Victorians were guilty for delighting in the saucy details of the scandal at the same time as they projected an outward shell of moralistic judgment” (86). The protagonists Denney selected for her perceptive narrative about “scandalous” women were born into the rapidly expanding middle classes: Mary Elizabeth Braddon (1835–1915), Lady Dilke (1840–1904), Millicent Garrett Fawcett (1847–1929), and Sarah Grand (1854–1943). This decision (which is unexplained by the author) excludes a figure like Frances Evelyn "Daisy," Countess of Warwick, author and activist, referred to in the press as… Full Review