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“We had thought, too, about the tireless activity of the Fluxus group—but how could we have shown an infinite overproduction without instantly betraying and limiting it?” Such is Yve-Alain Bois’s explanation for excluding Fluxus from Formless, the exhibition and “user’s guide” he coorganized and cowrote with Rosalind E. Krauss (Zone Books, 1997, 24). Taking inspiration from Georges Bataille’s short, evocative dictionary entry on l’informe in the Surrealist journal Documents, the duo set out to “redeal modernism’s cards” (Bois and Krauss, 21). L’informe, they explained, denoted a leveling operation that could corrupt Clement Greenberg’s formalism without succumbing to… Full Review

Working against the Grain: Women Sculptors in Britain c.1885–1950 comes at a timely moment in British art and sculpture studies. In addition to Arts Council Collection’s forthcoming touring exhibition Breaking the Mould: Sculpture by Women since 1945, the Royal Society of Sculptors is exploring the histories and practices of its women members through the research project “Pioneering Women.” Pauline Rose’s monograph was itself prompted by the 2011 online sculpture database Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951, the first in-depth study of sculptors and those in related trades active in Britain during the… Full Review

At the opening of Trevor Stark’s new book is a faded photograph by Paul Nadar of the poet Stéphane Mallarmé in 1895. Seated at a writing desk, with a shawl around his shoulders, he meets our gaze with an inscrutable expression. His pen is laden with ink from the bottle before him, but it hovers in the writer’s hand somewhere above the empty white page. It is an apt image to lead us into Total Expansion of the Letter: Avant-Garde Art and Language after Mallarmé, a rich and absorbing exploration of the stakes for radical art and language in… Full Review

In this groundbreaking book, Izumi Nakajima defines “anti-action” as Japanese women artists’ counterapproach to “action” painting by male artists, emphasizing their creation in the 1950s and 1960s. The volume is not just about how gender shaped women’s artistic practice in the period, however; as indicated by its subtitle, another subject is postwar Japanese art itself. Nakajima aims to reinterpret the field as a whole by examining how gender colored contemporaneous art criticism and the subsequent narrative on the subject (by targeting discursive practices in Japan). This book is an ambitious undertaking—practically the first of its kind—as there have been few… Full Review

Halfway through Making Images Move: Handmade Cinema and the Other Arts, Gregory Zinman offers an engaging discussion of Thomas Wilfred’s Clavilux, a visual apparatus that premiered on January 10, 1922, at New York City’s Neighborhood Playhouse. The Clavilux projected abstract compositions of colored light through a keyboard that controlled an ingenious mechanical ballet of color filters and lenses. This sculpting of light signaled the beginning of what Wilfred described as the “eighth art of electric light.” Following a rhetoric of mediatic obsolescence, Wilfred argued that what he termed Lumia, a strictly visual and silent art form, had superseded… Full Review

In 1910, Vienna’s recently founded Vereinigung bildender Künstlerinnen Österreichs opened its inaugural exhibition, aptly titled Die Kunst der Frau (The art of women; November 5, 1910–January 8, 1911). Erica Tietze-Conrat (1883–1958), Austria’s first woman with a PhD in art history, observed that this showcase of women’s art across the ages failed to advance contemporary women’s cause because it created a separate category of “feminine art” (weibliche Kunst) that was still measured against “masculine art” (männliche Kunst; “Die Kunst der Frau,” Zeitschrift für bildende Kunst 46, no. 22, 1911: 146). To a certain extent, this conundrum lies… Full Review

Reading Lateness, Peter Eisenman’s new book with Elisa Iturbe, causes a cascade of ideas from Eisenman’s fifty years of production to come to the surface. They arrive, in effect, late—in stages, de-sorted—and as Lateness suggests, “apart from time.” It is difficult to view the book in isolation, yet there is a very new quality to the work. The tangential aspect to time—lateness—is in itself novel in Eisenman’s work. It portends an eventual, delayed rather than negated reconciliation with the times. Not with a would-be zeitgeist, but still far from the resistance often attributed to earlier work by Eisenman. … Full Review

This book tracks the visual traces of a dialogue as conceived between two ethnicities—Han Chinese and Tibetan—and two modes of Buddhist Mahāyāna thought and practice, exoteric (such as Huayan) and Esoteric Buddhism, both operating in the Dunhuang region of eastern Central Asia (now in Gansu Province, China) in the eighth to tenth century. A series of “cultural negotiations” plays out in complex programs of murals on cave walls and ceilings through the incorporation of motifs associated with Esoteric Buddhism into a matrix that is, according to the author, focused on repentance rituals and reverence for bodhisattvas. The book presents an… Full Review

The goal of this well-rounded edited collection is to bring new scholarship on Rome’s remarkable early modern chapels to a “wider public” (5), in line with the mission of the Fondo Edifici di Culto (FEC) of the Ministry of the Interior of Italy. Happily, FEC sponsorship allowed for new high-quality photographs to produce a richly illustrated book. The volume comprises an introduction and nine essays in English by Italian and American scholars. Each essay carefully lays out the scholarly apparatus of construction dates, vicissitudes of patronage, and issues of attribution. Most of the essays offer previously unpublished archival… Full Review

In January 1823, a month before he was named the first president of the Republic of Peru, José de la Riva Agüero asked the city council of Lima to remove the portrait of Viceroy José Fernando de Abascal y Sousa (r. 1806–16) from their chambers and contribute it to a nascent national collection of portraits. The councilors, however, could not comply with the request. The Lima-based artist Mariano Carrillo had painted his portrait of José de San Martín, the general who had declared Peru’s independence in 1821, over the image of Viceroy Abascal. As Emily Engel shows, however, not all… Full Review