Megan Driscoll discusses SoulStirrers: Black Art and the Neo-Ancestral Impulse by H. Ike Okafor-Newsum (Horace Newsum). Read the full review on caa.reviews.
Andrew James Hamilton reviews Design for Eternity: Architectural Models from the Ancient Americas by Joanne Pillsbury, Patricia Joan Sarro, James Doyle, and Juliet Wiersema. Read the full review at caa.reviews.
Andy Campbell visits Come as You Are: Art of the 1990s, on view at the Blanton Museum of Art, Austin from February 21–May 15, 2016. Read the full review on caa.reviews.
Victoria Reed reviews Irrational Judgments: Eva Hesse, Sol LeWitt, and 1960s New York by Kirsten Swenson. Read the full review at caa.reviews.
Matthijs Ilsink reads Bosch and Bruegel: From Enemy Painting to Everyday Life by Joseph Leo Koerner. Read the full review on caa.reviews.
Arden Decker visits Si tiene dudas . . . pregunte: Una exposición retrocolectiva de Mónica Mayer / When in Doubt . . . Ask: A Retrocollective of Mónica Mayer, which was on view at Museo Universitario Arte Contemporáneo, Universidad Nacional Autónoma de México, Mexico City, from February 6, 2015—July 31, 2016. Read the full review at caa.reviews.
Maggie Taft discusses Danish Modern: Between Art and Design by Mark Mussari. Read the full review at caa.reviews.
Michael D. Carrasco reads Reconsidering Olmec Visual Culture: The Unborn, Women, and Creation by Carolyn E. Tate. Read the full review at caa.reviews.
Mark Alan Hewitt reviews Mind in Architecture: Neuroscience, Embodiment, and the Future of Design, edited by Sarah Robinson and Juhani Pallasmaa. Read the full review at caa.reviews.
Sheila Barker reads Painting as Medicine in Early Modern Rome: Giulio Mancini and the Efficacy of Art by Frances Gage. Read the full review at caa.reviews. Read the full review at caa.reviews.
Karil J. Kucera discusses A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang. Read the full review at caa.reviews.
Nathan J. Timpano reviews Mona Hatoum, on view at Tate Modern, London, May 4–August 21, 2016. Read the full review at caa.reviews.
Karen Eileen Overbey discusses Early Medieval Stone Monuments: Materiality, Biography, Landscape edited by Howard Williams, Joanne Kirton, and Meggen Gondek. Read the full review at caa.reviews.
Michaël Amy visits Alberto Burri: The Trauma of Painting, on view at the Solomon R. Guggenheim Museum, New York, October 9, 2015–January 6, 2016. Read the full review at caa.reviews.
Alessandra Raengo discusses Travel and See: Black Diaspora Art Practices since the 1980s by Kobena Mercer. Read the full review at caa.reviews.
Lisa Newman reviews It’s All Allowed: The Performances of Adrian Howells edited by Deirdre Heddon and Dominic Johnson. Read the full review at caa.reviews.
Maria Stavrinaki reads Revolutionary Beauty: The Radical Photomontages of John Heartfield by Sabine T. Kriebel. Read the full review at caa.reviews.
Patrick Hajovsky reads Ancient Origins of the Mexican Plaza: From Primordial Sea to Public Space by Logan Wagner, Hal Box, and Susan Kline Morehead. Read the full review at caa.reviews.
Fredo Rivera reviews Constitutional Modernism: Architecture and Civil Society in Cuba, 1933–1959 by Timothy Hyde. Read the full review at caa.reviews.
Marnin Young discusses Modernism and Authority: Picasso and His Milieu around 1900 by Charles Palermo. Read the full review at caa.reviews.
Pascale Rihouet discusses A Feast for the Eyes: Art, Performance, and the Late Medieval Banquet by Christina Normore. Read the full review at caa.reviews.
Morgan Thomas visits Everywhen: The Eternal Present in Indigenous Art from Australia, which was on view at the Harvard Art Museums, Cambridge, MA, from February 5–September 18, 2016. Read the full review at caa.reviews. Image credit: Tommy Watson, Wipu Rockhole, 2004. Art Gallery of New South Wales, Sydney. © Tommy Watson/Courtesy of Yanda Aboriginal Art.
Heather Madar reviews Daughter of Venice: Caterina Corner, Queen of Cyprus and Woman of the Renaissance by Holly S Hurlburt. Read the full review at caa.reviews.
Deanna Pytlinski visits Women of Abstract Expressionism at the Denver Art Museum. “There is much to celebrate about the exhibition,” and “the mood of the show was decidedly exuberant in its design and content.” “Paying overdue attention to the presence of women in a movement long understood to be inherently masculinist,” it makes “the reasons for Abstract Expressionism’s success come alive once again.” Read the full review at caa.reviews.
Ugochukwu-Smooth C. Nzewi reviews Twins in African and Diaspora Cultures: Double Trouble, Twice Blessed, edited by Philip M. Peek. The book challenges “existing African arts and culture scholarship’s disproportionate attention on how twin births constitute a problem to parents and communities,” instead taking “a dialectic approach to show how twins embody ambiguity” and “complementary duality.” Read the full review at caa.reviews.
Eric M. Frank discusses the Museo dell’Opera del Duomo in Florence, Italy, which opened in 2015. The “spectacular new” institution is “a modern manifestation” of the “same Enlightenment principles that inspired the creation of the public museum,” as well as “an extensive pedagogical installation focused on historical context and religious belief that intentionally aspires to educate and spiritually transform each visitor.” Read the full review at caa.reviews.
Amy Buono reads Peruvian Featherworks: Art of the Precolumbian Era, edited by Heidi King. The volume is “an important contribution to a profoundly complex yet largely overlooked artistic genre: Andean featherwork.” It “highlights both the difficulties of interpreting ancient Andean featherworking and its rich scholarly potential” and “is a superb resource for understanding how featherwork fits into the larger arena of Andean artistic practices.” Read the full review at caa.reviews.
Rhonda L. Reymond reviews Civil Rights and the Promise of Equality and African American Women, both edited by Laura Coyle and Michèle Gates Moresi, which are part of a series published by the National Museum of African American History and Culture. “These volumes deserve a place on library bookshelves enriching the photographic section in general and adding to the significant number of books examining or reproducing images of African Americans.” Read the full review at caa.reviews.
Anne Leonard discusses Interiors and Interiority, edited by Ewa Lajer-Burcharth and Beate Söntgen. Featuring “twenty-two essays, mostly by German and U.S. scholars,” the book argues that “the relationship between interiors and interiority is not limited to private spaces and individual psychology but engages just as ineluctably with complex dynamics of performativity, cultural mobility, technology, and material agency.” Read the full review at caa.reviews.
Jenny Lin examines Van Gogh on Demand: China and the Readymade by Winnie Won Yin Wong. The author “not only overturns accounts of Dafen as a factory full of exploited assembly-line painters, which she successfully reveals as strategically crafted fictions, but also unsettles contemporary art’s unspoken hierarchies and topples modernist and postmodernist assumptions about originality, authenticity, and authorship.” Read the full review at caa.reviews.
Kris Cohen visits Josh Kline: Freedom at the Portland Art Museum. “The first work in a projected five-work cycle,” Freedom imagines “a future that extends out from the present’s particular techno-economic landscapes.” The artist “takes the technologies and labor economies of neoliberalism not just as the context for his work but as the medium,” and the show is “far more esoteric than Kline admits.” Read the full review at caa.reviews.
Elaine K. Gazda reads Designing for Luxury on the Bay of Naples: Villas and Landscapes (c. 100 BCE–79 CE) by Mantha Zarmakoupi. The author “argues that by appropriating selected elements of Hellenistic and Roman architecture designers created a new architectural language for Roman luxury villas.” The book’s “primary contribution” lies in its “analyses of the physical components of this language.” Read the full review at caa.reviews.
Jessica Stephenson reviews Shannen L. Hill’s Biko’s Ghost: The Iconography of Black Consciousness. The author “offers a convincing reconsideration of the contributions” that Black Consciousness and Stephen Biko’s “meaning and legacy” give “to a visual culture of liberation in South Africa.” Presenting “an impassioned redress,” she argues that this history has previously been marginalized and willfully misread. Read the full review at caa.reviews.