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Arrested Welcome is a thematically organized set of case studies on the strategies of hospitality in contemporary artists’ projects. Aristarkhova defines “hospitality” as “the practice of welcoming others” (xv), with collective potential extending from individual encounters. According to Aristarkhova, acts and forms of hospitality are used by artists “to bring back its original promise of a democratic, indiscriminate, unconditional welcome” (65). At the same time, Aristarkhova is clear about the problems with extrapolating social change from individual artistic practices. She notes that “individual welcoming acts do not solve big structural problems” (xviii), remarks that “it is problematic to act out… Full Review

In the past decade more scholars have abandoned an understanding of history based on contemporary political borders to embrace an understanding centering on the historical entanglement of empires. Such entanglement has resulted in our present power relations among nations in the Americas. Art historian M. Elizabeth Boone’s “The Spanish Element in Our Nationality” is an example of this shift in historical approaches, which complements work by scholars such as April Lee Hatfield, Jorge Cañizares-Esguerra, Katherine Manthorne, and Maggie M. Cao. More significantly, with its emphasis on the history of world’s fairs, this book creates a narrative where technology, art, science… Full Review

In a reappraisal of German modernism, Robin Schuldenfrei’s Luxury and Modernism: Architecture and the Object in Germany 1900–1933 highlights issues of taste, class, and luxury in modern German design and interiors, ultimately underscoring a necessary distinction between objects actually suited to mass production and handcrafted objects made with a modern, mass-produced aesthetic. Schuldenfrei examines the tensions of the Bauhaus, which was founded on progressive principles but ultimately fell short of producing financially accessible products, instead reaching an elite class of consumers. The book’s introduction considers the retouching of a seemingly prosaic photograph taken by Lucia Moholy for the 1930 book… Full Review

Diana Greenwald is trained as both an art historian and an economist, and in Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art, she aims to bring the methods and explanatory force of both disciplines together in the analysis of nineteenth-century art. As suggested by the subtitle, the book is driven primarily by a methodological call to the field. In this, it is analogous to Matthew Jockers’s Macroanalysis: Digital Methods and Literary History (University of Illinois Press, 2017), which challenged literary scholars to use computational methods to enlarge the scale of literary history from the micro to the macro, moving… Full Review

In a moment of climate catastrophe and political crises, Alison Clarke’s Victor Papanek: Designer for the Real World joins other recent publications in demonstrating renewed interest in the design educator’s manifesto for socially and ecologically responsible design. With the benefit of a half-century’s distance from the 1971 English-language publication of Papanek’s influential Design for the Real World, Clarke covers an impressive amount of territory to show how the landmark book was not the straightforward product of a single designer’s motivated conscience, but rather was built atop a complex mesh of Cold War cultural politics, institutional structures, and the rocky… Full Review

A critical study of the contexts of artifacts requires a solid awareness of the methodologies available to investigate a wider network of relationships, as the Italian art historian Giovanni Previtali showed (G. Previtali, “Alcune opere ‘fuori contesto’: Il caso di Marco Romano,” Bollettino d’arte, 6th ser., 22, 1983, 43–68). This need is even more relevant today as researchers can now use a wider range of techniques to work on contexts, such as the many possible forms of archaeometric analysis, which require a firm methodological command by scholars in the humanities.  Important reflections on working on contexts with reference to… Full Review

This volume of papers from the Andrew Ladis Trecento Conference held in 2018 attempts to relocate the study of Italian art, 1300–1400, a field historically dominated by attribution and connoisseurship, into new art historical methodologies and critical methods. The editors identify some of these as the study of gender, reception of art by diverse audiences, and interrelationships between artistic imagery, sermons, and vernacular texts; they also discuss the exploration of abstract concepts like time or knowledge, theoretical approaches to pictorial space, and a shift in scholarly attention to the later trecento. For this reviewer, the most innovative papers address the… Full Review

“Why did some notable examples of Hellenistic Art look so different from previous Greek art? And why did some key elements of Hellenistic art and literature appear so similar?” (xi). Kristin Seaman’s work is built and developed around these essential questions of differences across time and similarities between media. By recognizing the central role of rhetorical education in Greek society, the author emphasizes the close association between innovative visual production and textual culture in the Hellenistic courts. Within this context, the practice of progymnasmata held a distinctive position. The composition and delivery of orations appears to have been incorporated into… Full Review

John Simpson’s The Captive Slave (1827, Art Institute of Chicago) graces the cover of Witnessing Slavery: Art and Travel in the Age of Abolition, a compelling book that examines eyewitness accounts of slavery largely produced by British artists during the seventy-year period between 1770 and 1840. Although a poignant and absorbing image, Simpson’s painting is one of the few works in the book that is not an eyewitness account, but instead a formal portrait of an anonymous slave said to have been modeled by Ira Aldridge, the first black actor to play Othello on the London stage. This paradox… Full Review

Thinking is something we get to enjoy alone, and yet, as Hanneke Grootenboer shows in The Pensive Image: Art as a Form of Thinking, it is also collective. Grootenboer’s own thinking builds on foundations laid by Georg Wilhelm Friedrich Hegel, Martin Heidegger, Walter Benjamin, Roland Barthes, Gaston Bachelard, and Jacques Rancière, as well as by artists, from painters to filmmakers. More unruly and less policed than the discipline of philosophy proper, it belongs to that praxis we know as “theory.” For thinking along with art, Grootenboer demonstrates, discrete ideas, pensées, or Denkbilder, whose compactness already begins to… Full Review