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For more than a decade, Christopher Pinney has dominated the visual anthropology of photography. His first major book, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997), argued that, despite its long imbrication in projects of colonial documentation and moral education, photography in India is a discourse, an institution, and a set of practices that enabled self-idealization, social masquerade, and a creative destabilization of the very identities that photography, in its colonial mode, had attempted to establish. He analyzed the staging of profilmic moments and the techniques of overpainting, collage, and double exposure by which… Full Review

Despite its relative youth as a field of academic inquiry, the study of photography has reached a point where it has a discernable history. In 2005, two major conferences sought explicitly to wrestle with, outline, account for, and depart from the past twenty-five to thirty years of scholarly writing on photography, which was itself predated by several decades of influential studies of photographic objects within the context of the art museum. The books under consideration here are the edited proceedings of these 2005 conferences; both suggest that, as many scholars have argued about photographs themselves, the field of photography studies… Full Review

With the recent ushering in of the second decade of the twenty-first century and the Era of Obama, the study of the black body has fully entered the field of art-historical and visual culture studies, along with being one of the most popular sites of social, cultural, and political contestation. In fact it has long been a particularly fertile field for academic rumination and semiotic dissection as well as the subject of numerous art collections and archival projects, including Dominique de Menil’s singular Archive of the Image of the Black in Western Art, now in the care of the W… Full Review

There are many reasons to recommend John Peffer’s Art and the End of Apartheid. It makes significant headway toward recording histories and interpreting art of the 1970s and 1980s that were somewhat overlooked post-1994 when South Africa held its first democratic election and art enthusiasts rushed in. (There is some difficulty assigning a date to apartheid’s “end,” but Peffer chooses 1994 for this reason. He “begins” in 1976, when a peaceful march by Soweto students was met with violence. This sparked numerous uprisings nationwide and refueled outright resistance.) The author untangles knotted debates about the call to represent (… Full Review

In Cézanne’s Bathers: Biography and the Erotics of Paint, Aruna D’Souza offers a fresh, original perspective on the bather paintings Cézanne made from the mid-1870s to 1906 as well as what has been written about them. Her book has two main objectives: to analyze the construction of Cézanne’s biography, which has shaped much of the criticism and art-historical analysis of his bather paintings; and to demonstrate that Cézanne imbued his bather paintings with the erotic through his process/technique of painting along with the material of paint itself. The nature of D’Souza’s argument requires clear, precise illustrations, which Cézanne’s Bathers… Full Review

The history of modern interwar architecture has been told many times, first by a generation of critics committed to ensuring that this experiment endured and next by scholars, many of whom were also passionate defenders of what had once been highly experimental forms. The first satisfied itself with the analysis of the physical object (form, plan, construction), supported by the theories of its architects; the second has excavated the archival record, using drawings and letters, but also journal and sometimes even newspaper articles, to reconstruct the design process as well as client demands. Neither Sabine Hake, professor of German… Full Review

Early on in her brilliant book, Art Workers: Radical Practice in the Vietnam War Era, Julia Bryan-Wilson sets out an argument that she proceeds to both reconfirm and complicate, in the ambivalent push-pull that is the signature of her approach: “For artists such as [Carl] Andre activism was an alibi for not making explicitly political art. Perhaps, [Karl] Beveridge and [Ian] Burn suggest, these artists asserted themselves as workers precisely because their labor was no longer evident in their objects. Their politics were displaced onto their personal identities, enacted on the level of personal style rather than artistic content”… Full Review

This beautifully written and broad-ranging book examines Italian late medieval sculpture in its political and social context. It considers sculpture as a public and institutional gesture, from the Holy Roman Empire and the Angevins in the Kingdom of Sicily to the central and north Italian communes and signorie. Its subject ranges from public programs, such as the gate of Capua and other public monuments, to the tombs of dignitaries, saints, and rulers. In order to understand sculpture as a political gesture Cassidy makes use of fresco cycles, sermons, poetry, and various types of communal and papal legislation. Although the… Full Review

Lucy Freeman Sandler is a preeminent member of a generation of scholars that transformed illuminated manuscript research from a niche discipline into a vibrant and expansive field within the study of Medieval art. To trace Sandler’s achievements is to map a chronology of major critical and methodological developments in the field. Earlier monographs on devotional manuscripts like the fourteenth-century Psalter of Robert de Lisle and the Peterborough Psalter are exemplary studies of iconography and style that remain the authoritative sources on these subjects. Later works, such as a monograph on the production of a manuscript of the clerk James le… Full Review

Since John Tagg published his first book, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988), he has been one of the most recognized figures in photographic theory. He is part of a brilliant generation of Anglo-American authors who emerged from the 1968 political movement, appeared in the public arena in the context of the 1970s New Art History, and whose contribution to a theorization of photography using the tools of Marxism, poststructuralism, Gramscian cultural studies, feminism, and psychoanalysis remains unsurpassed. Tagg himself recently formulated the project of this group in these terms: “we… Full Review