Browse Recent Book Reviews

Women, Geography, Borders in the Age of (Anti)Globalization— The constituency of women is the primary subject of two books co-edited by art historian Marsha Meskimmon; and as represented in the above-listed volumes, the 2013 title was coedited with Dorothy C. Rowe while the 2016 compendium was with first editor Marion Arnold. The two collections of essays contribute to the resurgence of the name of woman in the aftermath of the disavowal of the term following the 1990s gender deconstructions that challenged the heteronormative signifier. As articulated by Arnold and Meskimmon, the name of woman “does not presuppose a singular… Full Review

In his introduction to Renaissance Art in Venice: From Tradition to Individualism, Tom Nichols takes careful aim at some overused concepts in the discussion of Venetian art, namely the characterization of it as distinguished by colore as opposed to disegno, and qualities of venezianità and mediocritas. He cautions his readers that these narratives do “little to explain the more dynamic dimensions of art and architecture in this period, and fail to account for the radical changes in their appearance” (8). This is a judicious beginning. Without rejecting past insights, Nichols offers a history of Venetian art that… Full Review

With breaking news coming out of the White House daily, if given the chance, what would you “wish to say” to President Trump? What might you ask him? What would be your most pressing issue to discuss? Would you be able to fit it on a postcard? Sheryl Oring has been asking the public these and related questions for over a decade in her project, “I Wish to Say.” Donning 1960s-era dress suits, she travels across the country with her portable public office, a vintage manual typewriter in tow, and an ear to lend. What amassed is a diverse archive… Full Review

This excellent book by the feminist scholar, critic, and curator Jenni Sorkin exemplifies the value of incorporating craft and other forms of applied art more fully into the history of the avant-garde. Sorkin reveals the important role played by women ceramic artists of the 1950s and 1960s in shaping collective and performative experiences of art. Women ceramicists built alternative communities of practitioners while exploring issues of form and process, and Sorkin argues that their work anticipated avant-garde collectives and participatory art forms of the late twentieth century. Live Form: Women, Ceramics, and Community participates in a growing effort to… Full Review

A legendary artist with an extraordinary life story and a larger-than-life persona, Yayoi Kusama (b. 1929) is a difficult subject for study, which leaves little room for diverse interpretation. Her account of mental illness and the fact that she has been living in a psychiatric hospital since the mid-1970s—upon returning to Tokyo after struggling in New York for recognition and success in the 1960s—have shaped not only public perception but also scholarly analysis of her artwork. When she reappeared on the international art scene in the early 1990s after two decades of relative obscurity, scholarship and criticism of her practice… Full Review

Finally there exists a comprehensive study of Russian painting before the twentieth century: Rosalind Blakesley’s gloriously illustrated, exceptionally researched history of painting from the foundation of the Imperial Academy of Arts in 1757 to the death of Tsar Alexander II in 1881. This is a book we may not have even known we were waiting for, but now that it is here, it may well change the field of art history. To say that “it fills a gap in existing literature” (2) is a gross understatement. The Russian Canvas: Painting in Imperial Russia, 1757–1881 not only shows us in profound… Full Review

Of Elephants and Roses: French Natural History, 1790–1830 offers an ambitious model for fostering interdisciplinary scholarly conversations between the history of science, the history of art, and cultural and literary history. An edited collection of papers that were delivered at a symposium held in conjunction with the exhibition at the American Philosophical Society in 2011 entitled Encounters with French Natural History, 1790–1830, the lavishly illustrated volume contains twenty essays and a checklist of all the objects on display at the exhibition. The result is an innovative kind of exhibition catalogue of the highest scholarly caliber: in the place of… Full Review

In their introduction to the exhibition catalogue Terry Fox: Elemental Gestures, editors Arnold Dreyblatt and Angela Lammert remark on the artist’s current position on the edge of art history. A vital force in the often overlooked San Francisco art scene of the late 1960s and 1970s, Terry Fox (1943–2008) appears to have found greater appreciation outside of the United States, particularly within mainland Europe. (It is perhaps telling that a retrospective of this scale was first mounted in Berlin, and that the Seattle-born artist is described here as “American-European”—presumably in recognition of the considerable time he spent living and… Full Review

With so much attention given to the music of the black diaspora in recent years, scholars of race have perhaps neglected other areas of popular culture, in particular fashion and style. But has fashion really been critical to the forging of racial and ethnic identity? Carol Tulloch seems to think so, hence her fascinating book brings together discussions of race, style, aesthetics, diasporic identities, and modernity. Black style has had a huge impact on twentieth-century fashion. Its absence within social history, cultural studies, and fashion studies is surprising. This is why Tulloch’s work on the emergence and enduring significance of… Full Review

It might be fair to judge Heidi Pauwels’s latest book on poetry and painting from the Rajput court of Kishangarh by its cover. A painting depicts eyes irrigating a garden of poetry with a river of tears. The verses, laid in rectangular text blocks inscribed in green calligraphy, narrate this image: the beloved Laylā is so dangerously beautiful that, upon seeing her, her lover cannot help but cry. One couplet reads, “A fountain springs from the eyes, a waterfall of pain. As long as the heart’s soil is pure, the verdant garden of love will remain” (255). The painting dates… Full Review