CAA News Today

The opening essay of the September 2014 issue of The Art Bulletin, the leading publication of international art-historical scholarship, is by the Brazilan scholar Claudia Mattos, who examines local and global view on art history in “Geography, Art Theory, and New Perspectives for an Inclusive Art History.”

In other essays in the issue: Douglas Brine explores the memorializing function of Jan van Eyck’s van der Paele Virgin, with particular attention to its commissioning and original setting. Mitchell B. Merback considers the moral and phenomenological implications of a monstrous visage, reflected in the Centurion’s armor, in Hans Burgkmair’s Crucifixion in Augsburg. In “Watteau, Reverie, and Selfhood,” Aaron Wile finds that the French artist’s fêtes galantes establish a new relationship between painting and viewer, characterized by reverie and a modern sense of interiority. Finally, Rebecca Brown looks at the exhibitions associated with the 1985–86 Festival of India in the United States and how they isolated Indian art from broader movements in modern and contemporary art.

In the Reviews section, Matthew P. McKelway considers books by Alexander Hofmann and by Yukio Lippit on painting in early modern Japan. J. M. Mancini reviews Zahid R. Chaudhary’s Afterimage of Empire: Photography in Nineteenth-Century India, and Ebba Koch examines Santhi Kavuri-Bauer’s Monumental Matters: The Power, Subjectivity, and Space of India’s Mughal Architecture.

CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members.

In the next issue of the quarterly journal, December 2014, Cheng-hua Wang offers a global perspective on eighteenth-century Chinese visual culture in “Whither Art History.” The feature essays offer new research and a reinterpretation of the Greek statue known as the Motya Youth, an analysis of two editions of a print series published in seventeenth-century Antwerp, an exploration of the Rococo revival in mid-nineteenth-century Austria, and a reading of Ad Reinhardt’s black square paintings as object lessons in Marxist dialectics. The issue will also include reviews on Maya art, color, and theories of visual culture.

The June 2014 issue of The Art Bulletin, the leading publication of international art-historical scholarship, leads off with an essay by Parul Dave Mukherji, who explores the promise of postethnic art history in “Whither Art History in a Globalizing World.”

Also in the June issue, Hallie Franks investigates domestic mosaics in ancient Greece through travel metaphors associated with the symposium. In “Casts, Imprints, and the Deathliness of Things,” Marcia Pointon examines the materiality of death masks produced in eighteenth- and nineteenth-century Europe to excavate their meanings, past and present. Next, Sugata Ray analyzes the architecture of the 1887 Jaipur Economic and Industrial Museum as destabilizing the imperial aspirations of colonial museology. Finally, Joseph Siry considers how Frank Lloyd Wright’s Kalita Humphreys Theater in Dallas realized the architect’s ambition to rethink the ideal building form for drama.

In the Reviews section, Wei-Cheng Lin considers Megan E. O’Neil’s book Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala, Paul Barolsky reviews Michael W. Cole’s study Ambitious Forms: Giambologna, Ammanati, and Danti in Florence, and Joanne Rappaport examines Daniela Bleichmar’s Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment.

CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members.

The next issue of the quarterly publication, to appear in September 2014, will feature a third “Whither Art History?” piece, by Claudia Valladão de Mattos, and essays on the memorializing function of Jan van Eyck’s van der Paele Virgin, the moral and phenomenological implications of a monstrous visage in Hans Burgkmair’s Crucifixion, modern interiority in Watteau’s fêtes galantes, and several exhibitions associated with the Festival of India in the United States. The issue will also include reviews on painting in early modern Japan, photography in nineteenth-century India, and the politics and power of Mughal architecture.

The March 2014 issue of The Art Bulletin, the leading publication of international art-historical scholarship, is the first in the editorship of Kirk Ambrose and the first copublished with Taylor & Francis. The issue opens with a new recurring feature, “Whither Art History?” The inaugural essay by Griselda Pollock critically engages interpretive and institutional trends within the discipline.

In the long-form essays that follow, Mary D. Garrard explores the effect of love on Michelangelo’s creativity by analyzing the Renaissance artist’s cryptic drawing Children’s Bacchanal (1532–33) in her essay, “Michelangelo in Love.” For his contribution, titled “Map as Tapestry,” Jesús Escobar argues that Pedro Teixera’s monumental 1656 map of Madrid is not only a remarkable scientific achievement but also a sophisticated art object. Next, in “The Fragrance of the Divine,” Nina Ergin considers the olfactory traditions underlying Ottoman incense burners and discusses their complex meanings. Finally, Edith Wolfe demonstrates in her essay, called “Paris as Periphery,” how the art of Vicente do Rego Monteiro reflects a specifically Brazilian cosmopolitanism at the core of a counternarrative of modernity in the 1920s.

In the Reviews section, an Art Bulletin Centennial review essay by Mariët Westermann assesses the two volumes of De Hollandsche schilderkunst in de zeventiende eeuw, which examine the work of Frans Hals and Rembrandt van Rijn. Tanya Sheehan reviews two books on interdisciplinary subjects: Knowing Nature: Art and Science in Philadelphia, 1740–1840, edited by Amy R. W. Myer, and The Premise of Fidelity: Science, Visuality, and Representing the Real in Nineteenth-Century Japan, written by Maki Fukuoka. Three recent books on Mexican art—Mary K. Coffey’s How a Revolutionary Art Became Official Culture, Adriana Zavala’s Becoming Modern, Becoming Tradition, and Shelley E. Garrigan’s Collecting Mexico—are assessed by Rick López. Josh Ellenbogen ruminates on two books on art and technology, Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacle by Erkki Huhtamo and Enfoldment and Infinity: An Islamic Genealogy of New Media Art by Laura U. Marks.

CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the print journal as a benefit of their membership. In addition, online versions of the articles in each issue are available to CAA members who log into the CAA members’ portal. The next issue of the quarterly publication, to appear in June 2014, will feature the next “Whither Art History?” essay, by Parul Dave Mukherji, and essays on Greek domestic mosaics, death masks produced in eighteenth- and nineteenth-century Europe, the architecture of the Jaipur Economic and Industrial Museum, and Frank Lloyd Wright’s Kalita Humphreys Theater.