Recently Published Reviews

The eerie title of Rachel Poliquin’s beautifully illustrated and designed book, The Breathless Zoo, first in the exciting new “Animalibus” series edited by Nigel Rothfels and Gary Marvin, immediately calls attention to the contradictions at the heart of its subject. Taxidermy, which can be traced at least to the sixteenth and seventeenth centuries, is a process whereby animals are killed in order to be preserved and displayed, and in which their deaths—deliberate and celebrated in some instances, accidental or mourned in others—linger in the background of that display. The result is an irresolvable tension between the live animal taxidermy… Full Review

Once in a while an exhibition comes along that achieves many things. It illuminates past and present, and does so by creating a viewing experience both beautiful and instructive. All the better when such an exhibition also brightens up a blind spot in the history of art. The exhibition at the Metropolitan Museum of Art entitled Extravagant Inventions: The Princely Furniture of the Roentgens achieved this. Curated by Wolfram Koeppe, Maria Kellen French Curator of European Decorative Arts, the show was a monographic investigation of father-and-son furniture makers Abraham (1711–1793) and David Roentgen (1743–1807), whose workshop in the German town… Full Review

In their introduction to The Photobook: From Talbot to Ruscha and Beyond, Patrizia Di Bello and Shamoon Zamir make a refreshingly straightforward proposition about the historical relationship between the photograph and the printed page: “Ever since the publication of Henry Fox Talbot’s Pencil of Nature (1844–46) . . . the home of the photograph has been the book as much as the gallery wall. It could even be argued that the book is the first and proper home of the photographic image from which it moved out to take up residence in the fine art gallery and the modern… Full Review

The market that readers of The Rise of the Art Market in London, 1850–1939 encounter is not one driven by an invisible hand. In lieu of focusing on quantitative analyses of the “fiscal exchange value of the work of art” (15), the volume’s editors and contributors trace the tacit, coordinated, and often failed activities of myriad actors—dealers, auctioneers, collectors, painters, museum trustees, the art presses—that underpinned the development of London’s art market within a legible geographical terrain from the mid-nineteenth century to the interwar years. The collection thus privileges the theoretical parameters of “cultural geography” and the methods of art… Full Review

"What is alive anyhow?" This is one of the simple, troubling, and eternal questions posed by Casey Gardner's artists' book, Body of Inquiry. Her response is anything but simple. Partly inspired by the Musée des arts et meétiers, a labyrinth of scientific instruments and investigations in Paris, Gardner creates a complex multi-layered work combining the museum, her elementary science classes, technical facts, and an anatomical model called Torso Woman with her speculations on life, science, and death. The result is truly surprising. In the colophon Gardner states that "this book has been on my mind for quite some… Full Review

Today, J. M. W. Turner is arguably the most widely recognized artist of nineteenth-century Britain. He has been much on display during the past few years, thanks to several major exhibitions and their accompanying publications: J. M. W. Turner (Ian Warrell, ed., London: Tate Publishing, 2007), Turner and the Masters (David Solkin, ed., London: Tate Publishing, 2009), and Turner Inspired: In the Light of Claude (Ian Warrell, ed., London: National Gallery, 2012). The first of these exhibitions brought Turner’s works before U.S. audiences and provided a fresh evaluation of his career; the latter two focused on the artist’s intense engagement… Full Review

The development of photography over the course of the nineteenth century was a development of vision. For the first time, a person, via a mechanical device, could transcribe reality, freeze it, as it were, into an external, two-dimensional image. Thus, rather than providing an objective recording of reality, photography presented viewers with a new way of seeing reality. The manner in which artists utilized this new vision is the subject of Snapshot: Painters and Photography, Bonnard to Vuillard, an exhibition curated by Elizabeth W. Easton, Edwin Becker, Eliza Rathbone, and Ellen W. Lee. It features an impressive array of… Full Review

Taking Time: Chardin’s “Boy Building a House of Cards” and Other Paintings is the catalogue accompanying an exhibition mounted at Waddesdon Manor, the country house in Buckinghamshire, England, built in the nineteenth century for Baron Ferdinand de Rothschild. Today the manor is run jointly by the National Trust and a charitable Rothschild Family Trust headed by Jacob Rothschild, 4th Lord Rothschild. In 2007, the trust purchased Jean-Siméon Chardin’s Boy Building a House of Cards (1735). Taking Time celebrates the arrival of Chardin’s painting to Waddesdon Manor, where it joins another famous genre painting by Chardin, Girl with a Shuttlecock (1737)… Full Review

It used to be simpler. When Beaumont Newhall published his first English-language surveys of the history of photography in the 1930s and 1940s, most of the art-historical establishment did not consider photography a legitimate art, and when a modernist did think about the relation of the camera to art, it was often under a cloud of worry that some established painter would be revealed to have used a photograph as his source. Newhall thus began his project from a position of deficit: photography, as he understood it, could be expressive but was fundamentally different from painting and the graphic arts… Full Review

Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome, edited by Jill Burke, consists of twelve essays that emerged from a conference held at the University of Edinburgh in 2005. They take the art of Rome in the first decades of the sixteenth century as their subject, and collectively foment reconsideration of the notion of “High Renaissance” style. In accord with current scholarship and survey texts, the term “High Renaissance” is understood as a product of historiography only loosely related to the historical period in question and is therefore placed in quotations throughout the… Full Review

The Hajj, one of the five pillars of Islam, annually inspires millions of people to congregate at a single place in a manner that is unique among world religions. The British Museum’s 2012 exhibition on the subject was accompanied by two publications that bring together the religious, political, economic, and visual histories of the Muslim pilgrimage to the holy cities of Mecca and Medina, from the seventh century through present times. For the main catalogue, Hajj: Journey to the Heart of Islam, exhibition curator and editor Venetia Porter invited scholars of religious studies, comparative religion, history, cultural criticism, and… Full Review

In her provocative new book, Touching Photographs, Margaret Olin presents an innovative approach to visual and photographic studies. Her essays form interrelated and often fascinatingly oblique case studies pertaining to the use of photography and its metaphorical affect as tactility and touch. Olin offers deep embraces of photographic discourse in James Agee and Walker Evans’s New Deal-era text and photographic essay, Let Us Now Praise Famous Men; Roland Barthes’s Camera Lucida; James VanDerZee's Harlem photographs produced during the 1920s and 1930s; photographic references in the writings of Hugo von Hofmannsthal and W. G. Sebald; "empowerment" projects such… Full Review

The complicated relationship between war and photography is the subject of a massive exhibition at the Museum of Fine Arts, Houston. Entitled War/Photography: Images of Armed Conflict and Its Aftermath, the exhibition includes more than 500 objects (pared down from over 2,000 initially under consideration) that range from photographs and photographic equipment to books, magazines, and albums. Produced by more than 280 photographers from 28 nations, the exhibition covers wars that occurred over six continents, beginning with the Mexican-American War in 1846 and culminating with the 2011 civil war in Libya. Yet, rather than organize this extensive material chronologically… Full Review

In 1953 German art historian Otto von Simson, writing in the pages of The Art Bulletin, heralded Rogier van der Weyden's Deposition (ca. 1435) in the Prado as "the birth of tragedy in Christian art" (Otto G. von Simson, “Compassio and Co-Redemptio in Roger van der Weyden’s Descent From the Cross,” The Art Bulletin 35, no. 1 [March 1953]: 9–16). Well-timed to coincide with post-war philosophy's Nietzsche revival, the claim was grounded in a conventional scholarly alignment of visual fact (the famous rhyme of Christ and Mary's bodies) and prevailing currents of religious culture (in particular the… Full Review

“How did images produce religious truth in the later Middle Ages?” Adam Kumler’s Translating Truth is an ambitious book that tries to answer this question through an examination of visual responses to the search for religious knowledge among the laity after the Fourth Lateran Council (1215). Kumler analyzes a series of exceptional manuscripts containing vernacular texts and images made for a lay clientele in France and England within the new “horizon of expectations” regarding education of the laity that emerged from the Fourth Lateran Council’s reform. Through the mediation of archbishops and bishops who supervised parochial clergy, the reformers sought… Full Review