Recently Published Reviews

Juliet B. Wiersema’s Architectural Vessels of the Moche: Ceramic Diagrams of Sacred Space in Ancient Peru is a significant contribution to the field of art history for two reasons. The first is the subject matter: she addresses the relationship between architecture and its representation through an examination and comparison of ceramic vessels that represent architectural spaces and archaeologically recovered architectural remains from the Moche culture of the Peruvian north coast (ca. 100–900 CE), a topic that has not been closely researched prior to this volume. The second is how she confronts the complications that come from studying objects without provenience… Full Review

Co-curated by Paul Schimmel, former chief curator of the Museum of Contemporary Art, Los Angeles, and partner and vice president at Hauser and Wirth; and Jenni Sorkin, art historian, critic, and assistant professor of contemporary art history at the University of California, Santa Barbara, Revolution in the Making: Abstract Sculpture by Women, 1947–2016 felt like an ambitious museum exhibition, especially with its impressive roster of thirty-four artists working across so much of the twentieth century and into the present. And yet it was the inaugural project at Hauser Wirth and Schimmel, a commercial gallery-cum-arts complex. Located in the heart of… Full Review

A powerful signifier of knowledge and collective memory in Western modernity, the archive has been a topic of much interest in art history and cultural studies. The scholarship of the last few decades—from Michel Foucault’s to Hal Foster’s—has exposed its artifice, indeterminacy, and historical role in the formation and operation of power structures. What is more, despite the fact that the photograph’s claim of veracity has been seriously challenged by the visual culture of the late twentieth century, it has remained a key component of most modern archives. Thus, photography, more as a discursive agent than as a medium, has… Full Review

That Anni Albers’s modestly sized weaving Free-Hanging Room Divider (1949) is one of the larger objects in Leap Before You Look: Black Mountain College 1933–1957 is a testament to the spare conditions under which the artists at Black Mountain College worked. An island of progressivism in the Blue Ridge Mountains, Black Mountain was a small school that staged a grand experiment in collectivism and experiential education. Students and faculty lived together; art practice was at the center of a liberal arts curriculum; and all participated in a work program that kept the school afloat. Throughout its short existence, the college… Full Review

In 1999, when a former student activist of the 1960s, Fram Kitagawa, proposed an idea for revitalizing the southern areas of Japan’s Nīgata Prefecture with contemporary art, its six municipalities unanimously declined. But Kitagawa insisted that art could help build a community to reinvigorate the desolate agrarian region and reverse the damage done by the government’s ferocious urbanization. After more than two thousand meetings with local communities, the effort crystallized in the first Echigo-Tsumari Art Triennale in 2000. The sixth edition was held in 2015. The world’s largest international exhibition, the latest triennale revealed 180 new works in… Full Review

Assembled from roughly forty different public and private collections, the exhibition Van Dyck: The Anatomy of Portraiture, curated by Stijn Alsteens and Adam Eaker, brought together more than one hundred paintings, drawings, and prints by Anthony van Dyck (1599–1641) and his contemporaries. Perhaps not coincidentally, the exhibition appeared exactly twenty-five years after another landmark Van Dyck show in New York—Christopher Brown’s groundbreaking The Drawings of Anthony van Dyck at the Morgan Library. Though separated by a quarter century, the two are conceptually linked, each taking as its starting point Van Dyck’s prodigious abilities as a draftsman. While the earlier… Full Review

Erik Thunø’s The Apse Mosaic in Early Medieval Rome: Time, Network, and Repetition presents an alternative “non-diachronic” art-historical interpretation of Roman apse decoration from the sixth through ninth centuries. He identifies a core set of examples that share key visual and textual features, including: SS. Cosmas and Damian (526–30); S. Agnese (625–38); S. Venanzio (640–42); the apses of Paschal I (817–24)—S. Prassede, S. Cecelia, S. Maria in Domnica; and S. Marco (827–44). While he believes that scholarship to date has produced compelling studies of the individual monuments, Thunø chooses to deliberately ignore, disregard, and overlook (his terms) various disciplinary assumptions… Full Review

The current obsessive fixation on children, childhood, and parenting has relegated the notion of “other people’s children” to a position of indifference and even mild disdain on the part of many middle- and upper-middle-class citizens. Yet the history of philanthropy and the preoccupation with the care of poor children was a central purpose of wealthy and middle-class women for a century and a half. In her book A City for Children: Women, Architecture, and the Charitable Landscapes of Oakland, 1850–1950, Marta Gutman explores the long tradition of benevolent concern for the poorest children in the rapidly urbanizing context of… Full Review

Blind spots help define a period eye. That is, what one period seems to lack is precisely what distinguishes its conventions from those of other periods. Yet the blind spots are unstable. Given that examining textual documentation of a period for its conventional visual terms remains central to art-historical practice, such documents require interpretation and reinterpretation. Even the most self-conscious or straightforward document writers, announcing their own biases, are unaware of all the implications of their sociocultural conditioning. These implications themselves change with the sociocultural responsibilities of future readers. If art historiography charts this shift, wise art historians might as… Full Review

In 2015, the Museum of Fine Arts (MFA), Boston, produced a large, handsome catalogue featuring approximately one hundred works by African American artists from its permanent collection, all of which were acquired over the past four decades. Three factors had a significant impact in amassing this art. Since 1969, Edmund Barry Gaither, curator and director of the National Center of Afro-American Artists (NCAAA) in Boston, has also served as a curator and consultant to the MFA. In 2005, the MFA Trustee and Overseer Diversity Advisory Committee established the Heritage Fund for a Diverse Collection to strengthen and diversify its world-renowned… Full Review

David Lowenthal contends that the heritage conservation movement came about largely as a result of “a sense of loss,” as humans saw their built environment vanish at alarming rates during the last century (David Lowenthal, The Past Is a Foreign Country, Cambridge, UK: Cambridge University Press, 1985). In the United Kingdom, an island nation, the loss of each historic building often seems to be magnified by longstanding introspection, as the British worry over every facet of their culture like aged librarians. When that building is a great country house, it can seem as if the sky is falling. … Full Review

The catalogue accompanying Walid Raad’s eponymous survey at the Museum of Modern Art (MoMA) is a beautiful volume with extensive documentation of the artist’s oeuvre from the 1990s to today; it will undoubtedly serve as the go-to resource on the artist for years to come. Ironically, it is also colored by a set of historiographic problems that Raad himself vigorously works over in his artistic production. What does it mean that alongside a contribution by the exhibition’s curator, Eva Respini, MoMA commissioned a historian of Islamic art, Finbarr Barry Flood, to write the second catalogue essay? What is the significance… Full Review

In the earliest works featured in her mid-career survey at the Hammer Museum, Frances Stark traces excerpts from classic works of literature on carbon paper, investigating the intimate relationship forged between writer and reader, artist and viewer. Painstakingly, she has copied the serif font of T. S. Eliot’s “The Love Song of J. Alfred Prufrock” (1915) by hand, as well as the scrawled, and at times inscrutable, marginalia found in a secondhand copy of the poem. These annotations do not illuminate Eliot’s text so much as they gesture to the interiority and intellectual life of the anonymous reader, who scribbles… Full Review

How do we know the world exists? This question, which precedes Martin Heidegger’s examination of the meaning of Being itself in Being and Time (trans. Joan Stambaugh, Albany: SUNY Press, 1996), brings Heidegger quickly to the terms by which we can “know” the material world. His argument singles out “useless things” as key to the process by which the world discloses itself to us, for these disturb the instrumental order of everyday existence, opening an awareness of the “totality.” The sense of yielding that Heidegger evokes here with the term “disclosure” is important, and he singles it out… Full Review

Picasso Sculpture, curated by Ann Temkin and Anne Umland at the Museum of Modern Art (MoMA) in New York, is the first in-depth survey of Pablo Picasso’s sculptural production since the exhibitions held in London and New York City in 1967. In the preceding years, Picasso’s sculptures were barely seen, even in reproduction, as the artist—with what I take to be his animist inclinations—held onto many of the works for dear life. The three-dimensional bodies kept Picasso company in ways stacks of paintings and drawings could not, and they nurtured his imagination in ways he needed. The… Full Review