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Along with the journal Mechademia (also published by the University of Minnesota Press) and the 2008 anthology entitled Japanese Visual Culture (Mark MacWilliams, ed., Armonk, NY: M. E. Sharpe, 2008), Robots Ghosts and Wired Dreams constitutes a significant English-language contribution to the intellectual analysis of contemporary Japanese science fiction and otaku (obsessive fan) culture centering around manga, anime, and video games. This volume brings together essays by noted scholars working in Japan (e.g., Kotani Mari, Azuma Hiroki, Tatsumi Takayuki), in addition to works by researchers of Japanese science fiction and anime who are based in Northern American academe (Susan Napier… Full Review

From March to mid-April of 2002, two squares of searchlights located at the Ground Zero site in Lower Manhattan were directed into the nighttime sky. Appearing at sunset and fading at dawn, they were two luminous ghosts standing in for the missing World Trade Center towers. Disagreements over memorialization of the site have been vociferous and nasty in recent years, yet The Tribute in Light was greeted with an outpouring of positive press and public reception. There was near unanimity about its fittingness. Perhaps because of the elemental associations of light and the sheer simplicity of the form, Tribute could… Full Review

In The Object Reader, Fiona Candlin, a lecturer in museum studies at Birkbeck College in London, and Raiford Guins, a specialist in cultural and visual studies based at Stony Brook University in New York, combine to bring together an innovative collection of essays concerning objects and how we understand them. Organized into six thematic sections, twenty-eight key readings (all previously published) are complemented by an additional selection of twenty-five commissioned shorter object lessons and a bibliography. Acknowledging that “object” is a “sprawling category,” the authors make a concerted and successful attempt to account for the way that interest… Full Review

“This is a book of criticism, not theory,” Susie Linfield announces on page xiv. I agree: The Cruel Radiance is not a theoretical book nor is it intended for people working with theories of photography. The targeted audience seems rather to be students of photojournalism concerned with questions about the ethics of looking at war and violence. Professor at the Cultural Reporting and Criticism program at New York University, Linfield wrote her book, in large part, against the work of Susan Sontag, her “postmodern and poststructuralist heirs,” and their “sour, arrogant disdain for the traditions, the practice, and the ideals… Full Review

When John Addington Symonds described the Renaissance for the eleventh edition of the Encyclopedia Britannica, he did not mention perspective. Admittedly, the visual arts were rather sweepingly described. But the idea that the Renaissance inaugurated a scientific view of the world came later. Jacques Mesnil in 1927, for instance, described how medieval work had held the observer’s attention by force of the religious subject, and how perspective made it possible to establish a coherence within and beyond the picture space on aesthetic grounds alone. This new device served “to reinforce the unity of the work and to communicate its… Full Review

David Harvey is best known as the author of The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change, published in 1989 (London: Blackwell), and a bestseller from the beginning. Without seeking to belittle the role of culture, Harvey underlines in this book that a comprehension of the economic basis of postmodernity is vital to any sound understanding of this phenomenon. A geographer by degree, he turned to social geography after an initial positivist period. He then adopted a more critical and socially oriented stance, with a strong Marxist component. Within this more materialist approach, one of… Full Review

One could hardly say that there is nothing to read on the history of colors, yet one might argue that most of what has been published reiterates a minor litany of sorts, namely, an antagonistic narrative, deeply embedded in the canonical values of Western philosophy from Plato and Aristotle to Hegel and Kant, with recurrent flare-ups crystallised around a few proper nouns that disguise with symmetry the academic hierarchy between drawing and color: Florence and Venice, Poussin and Rubens, Ingres and Delacroix. The long-standing reputation of color as an element resisting quantification, a secondary element emblematic of ineffable quality, has… Full Review

Ann Marie Yasin’s first book, Saints and Church Spaces in the Late Antique Mediterranean: Architecture, Cult, and Community, “explores the intersection between two key developments of the fourth to seventh centuries C.E.: the construction of monumental churches and the veneration of saints.” While it is not based on original excavation or newly discovered documents, the book successfully imposes order and new meanings on a vast array of material that spans the Mediterranean. Why it appears in a series on “Greek Culture in the Roman World” is unclear, given that some sixty percent of its illustrations pertain to North Africa… Full Review

In 2004, the Metropolitan Museum of Art bought, for an undisclosed sum that was reported to be more than $45 million, a small panel painting—the so-called Stoclet, or Stroganoff, Madonna—that was widely assumed to have been the last work by Duccio in private hands. Four years later, after a rigorous investigation of the panel, Keith Christiansen, the museum’s curator of European paintings, published an extended essay on the work in The Metropolitan Museum of Art Bulletin. Subsequently, Christiansen’s article was republished as this slender, generously illustrated book. In a way, Christiansen’s book is rather like the painting that… Full Review

In writing Michelangelo’s Vita in 1568, Giorgio Vasari remarked that in his old age the revered sculptor burned many of his drawings, discarding everything he considered less than a perfect creation, thereby destroying any evidence that could have left his monumental greatness in doubt. Although modern scholars frequently question the veracity of Vasari’s anecdotes, this one rings true for two reasons. On the one hand, it is a well-known fact that Michelangelo was an exacting artist, for whom only the finest creations were worth preserving. On the other, and perhaps even more important, one must acknowledge that all artists “edit”… Full Review