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The Inka Empire: A Multidisciplinary Approach aims to assemble the latest thinking about the largest indigenous state in the history of the Americas. Editor Izumi Shimada outlines four goals in his introductory chapter: 1) offer the latest data and interpretations regarding the rise of the Inka state; 2) present an updated overview of the material remains and the organizational and ideological features of the Inka state; 3) demonstrate the importance of multidisciplinary approaches to Inka studies; and 4) acquaint readers with important scholarship on the Inkas, including work usually not published in English. With some exceptions, Shimada admirably accomplishes his… Full Review

Architectural historian Vittoria Di Palma’s book Wasteland: A History examines the shift in the way wasteland was understood, classified, and managed over the course of the seventeenth and eighteenth centuries. It is both a wide-ranging survey of representations of wasteland in prints, paintings, maps, and elsewhere, and an alternative account of English improvement understood through developments in modern aesthetics. As such, it is of interest not only to art and architectural historians, but also to those concerned with environmental history and theories of aesthetics. Including twenty-three color and eighty-four black-and-white illustrations, Di Palma’s book relies heavily on visual representation to… Full Review

The terracotta army pits of the First Emperor’s (r. 221–210 BCE) mausoleum in China remain one of the most significant archaeological discoveries of the twentieth century; yet the story of the First Emperor, his tomb, and the rise of the Qin state did not end with that excavation. Instead, continuous archaeological activity in Shaanxi and Gansu Provinces has brought to light new sites, artifacts, and texts that have radically changed our understanding of the Qin state and its dramatic climb to power during the third century BCE. Beyond the First Emperor’s Mausoleum: New Perspectives on Qin Art… Full Review

“What is nihonga, where did it come from, and why is it still around?” (12). These questions comprise the final sentence of the introduction to Chelsea Foxwell’s impressive book and serve as our point of departure into the emergence and evolution of nihonga or “modern Japanese painting” in late nineteenth-century Japan. As Foxwell compellingly argues, the emergence of nihonga was not simply the result of Japan’s shedding its feudal past at the precise moment of the Restoration (1868) but rather a process that began in the diverse, hybrid artistic milieu of the late Edo period (1615–1868). By focusing on… Full Review

Dansaekhwa is a style of abstract painting in which Korean artists explore monotones using various materials. There has been little agreement among Korean theorists on the term, which demonstrates the difficulties of defining it. Although Joan Kee transliterates it as Tansaekhwa in her book Contemporary Korean Art: Tansaekhwa and the Urgency of Method, ever since the 2012 exhibition Dansaekhwa at the National Museum of Contemporary Art in Korea, Dansaekhwa has been widely used. Dansaekhwa emerged in the mid-1970s, continues to influence contemporary Korean artists, and recently has been recognized abroad. Though scholarship and criticism about Dansaekhwa is plentiful in… Full Review

In the last few years, nineteenth-century Japanese souvenir photography from the port city of Yokohama has witnessed increasing public interest after decades of neglect in institutional archives. In the current decade alone, there have been more than five special exhibitions across Europe dedicated to these photographic works. This unexpected emergence of so-called “Yokohama photography” was pioneered by new critical scholarship. Building upon the persistent research efforts on the visual souvenir industry of a small group of historians and photo historians since the 1980s (e.g., Saitō Takio, Terry Bennett, and Sebastian Dobson, to name a few), the scholarship has seen a… Full Review

Tara Zanardi’s Framing Majismo examines the cultural phenomenon of majismo, the eighteenth-century movement that defined Spanish types drawn from the urban lower classes. She emphasizes that majismo was a product of the Enlightenment as well as a xenophobic reaction to foreign influences, and argues that majismo imagery provides a view into the tensions between gender and class, as well as between tradition and modernity, in eighteenth-century Bourbon Spain. Zanardi brings together an impressive collection of sources in her interdisciplinary research, and this book will be of interest to scholars and students of many disciplines beyond art history. Visual representation… Full Review

Seventeenth-century Naples was the largest city in Italy, and the second largest in Europe after London. It was also home to a thriving school of painting, with homegrown artists such as Massimo Stanzione, Bernardo Cavallino, and Luca Giordano, as well as foreigners such as Caravaggio, Jusepe de Ribera, and Artemisia Gentileschi. Yet Neapolitan painting has been overshadowed by that of Bologna, Rome, or other schools of Italian painting. Although there has been no shortage of interest in particular artists or monuments, there exists no broader scholarly framework for understanding the development, production, and patronage of painting in Naples. This gap… Full Review

The topic of ‘Alid shrines in medieval Syria has an established scholarly framework of sectarian arguments. These include, on the one hand, a debate concerning the role of Shi’i doctrine in the proliferation of shrines from the tenth century onward, and on the other, bold statements concerning the culturally transformative impact of the so-called Sunni Revival from the eleventh century. In her introduction to The Shrines of the ‘Alids in Medieval Syria: Sunnis, Shi‘is and the Architecture of Coexistence, Stephennie Mulder is very careful not to entirely dismiss any particular arguments within this framework, but refreshingly suggests an alternative… Full Review

To produce the photographs in his Theaters series (1975–2001), Hiroshi Sugimoto brought his still camera into darkened movie palaces and opened the shutter for the full duration of the feature. What appears in the image is something that was never quite there—a glowing rectangle of pure white light caused by the superimposition of every frame of the film during the hours-long exposure. The extended time of capture reveals something else, something that was always there but hidden or resolutely ignored during the screening: the theater itself and its impressive, opulent architecture (231). It was cloaked in an intentional and studied… Full Review