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.
Edith Wolfe visits Adam Pendleton: Becoming Imperceptible at the Contemporary Art Center in New Orleans. The exhibition is “charged with a political urgency at odds with the artist’s restrained forms,” yet “the triumph—and challenge—of Pendleton’s language-based enquiries reside in their capacity to interrogate system and process as provocatively as they explore the African American experience.” Read the full review at caa.reviews.
Erin M. Rice reviews African Textiles: The Karun Thakar Collection with contributions by Duncan Clarke and Miriam Ali-de-Unzaga. While “the text itself does not provide the groundbreaking research the authors call for, it does highlight parts of a collection with great potential for future in-depth, object-based research,” and “the book is superbly illustrated with quality, color photographs.” Read the full review at caa.reviews.
Elisa A. Foster reads Toledo Cathedral: Building Histories in Medieval Castile by Tom Nickson. The author “endeavors to untangle the complicated and often tacitly accepted ‘building history’ of the cathedral’s construction.” “A wonderfully interdisciplinary study,” the “impressive” volume “is a significant contribution to recent scholarship on medieval Spain as well as Gothic architecture more broadly.” Read the full review at caa.reviews.
Tirza True Latimer discusses the reopening of the San Francisco Museum of Modern Art. Although the architecture, which “more than doubles” the galleries, offers “the tacit promises of disruption,” “the artworks exhibited in SFMOMA’s inaugural year are predominately canonical.” Only “time will tell what stories can be told and how the holdings can be differently expanded, displayed, and contextualized.” Read the full review at caa.reviews.
Cindy Lisica visits We Chat: A Dialogue in Contemporary Chinese Art at the Asia Society Texas Center. The exhibition features artists “who were of single-digit age during the 1989 Tiananmen Square protest-turned-massacre” and are “self-reflective and uninhibited by conventional social constructions of the past.” It is “a layered, nuanced, and exhilarating presentation of contemporary currents in Chinese art.” Read the full review at caa.reviews.
Alpesh Kantilal Patel reviews Nari Ward: Sun Splashed and Firelei Báez: Bloodlines, both at the Pérez Art Museum Miami. The “first mid-career retrospective of the Jamaican-born” Ward and his “diverse oeuvre” “overlapped with “a smaller solo exhibition of primarily paintings and drawings by the Dominican Republic-born Báez, a former student of Wards,” presenting “a carefully constructed curatorial conceit.” Read the full review at caa.reviews.
Mary Hunter reviews Realism in the Age of Impressionism: Painting and the Politics of Time by Marnin Young. The author “provides an original, compelling argument about how transformations in the perception of temporality fueled a reengagement with Realist painting in France.” A “smart, engaging” volume, it “will make a lasting mark … on the central role of temporality in the history of modern art.” Read the full review at caa.reviews.
Jane King Hession discusses Steven M. Reiss’s Frank Lloyd Wright’s Pope-Leighey House. This “skillful retelling of the complex history of a 1,200-square foot Usonian house” both “rigorously analyzes site issues” and “reflects on broader topics including changing social attitudes toward housing in the postwar years” and “the nascent yet evolving preservation movement in the United States in the early 1960s.” Read the full review at caa.reviews.
Sybil E. Gohari discusses The Artistic Journey of Yasuo Kuniyoshi, an exhibition and catalogue organized by the Smithsonian American Art Museum. The show “chronicles this important mid-century artist” whose work “combines American folk and Surrealist art with dreamlike perspectives,” highlighting “the figurative dimension” of his art and enhancing “an understanding of the period by presenting its diversity.” Read the full review at caa.reviews.
Rachel Goshgarian visits Court and Cosmos: The Great Age of the Seljuqs at the Metropolitan Museum of Art. As “the first major exhibition on the Seljuqs in the United States,” the show “sets out to elucidate how the orders of this world and the next were conceptualized and represented in the Seljuq Empire and its successor states,” and, “to a certain extent,” the curators “delivered.” Read the full review at caa.reviews.
Amy Chun Kim reads They Shall Not Have Me: The Capture, Forced Labor, and Escape of a French Prisoner in World War II, the artist Jean Hélion’s account of his imprisonment and escape from German camps. His “experience of the concrete as a camp inmate consolidated an aesthetic trajectory that was already in motion,” and this “vivid portrait” is “a stylistic testimony to this rejection of abstraction.” Read the full review at caa.reviews.
Agata A. Gomółka reviews Gretchen E. Henderson’s Ugliness: A Cultural History. The author “ventures on a critical journey through the history of ugliness, viewing the concept through the lens of culture and corporeality” and “packs an abundance of fascinating case studies and thought-provoking insights into a stimulating conceptual framework.” It is a “highly readable, erudite, and compelling account.” Read the full review at caa.reviews.
Sarah R. Cohen reads On Display: Henrietta Maria and the Materials of Magnificence at the Stuart Court by Erin Griffey. In this “meticulously researched” and “densely detailed” volume, the author argues that “early modern sovereigns, especially powerful woman such as Queen Henrietta Maria of England, projected their authority through the specific and calculated allure of their material luxuries.” Read the full review at caa.reviews.
Paisid Aramphongphan reviews Wade Guyton’s One Month Ago, an artist’s book featuring the transposed contents of a Tumblr blog consisting “mainly of photographs of a variety of gay kink scenes.” The reviewer is “inclined to read the book as Guyton’s rebuke to the line of criticism that positions him as basking in the limelight without making a difference in the privileged art world of abstract paintings.” Read the full review at caa.reviews.
Ellis Dullaart discusses Confronting the Golden Age: Imitation and Innovation in Dutch Genre Painting, 1680–1750 by Junko Aono. The author aims “to investigate how artists working in the waning light of the Golden Age dealt with the illustrious artistic past,” and the book “delivers important insights” and “has the potential to revive interest in and appreciation for a long-neglected period in Dutch art history.” Read the full review at caa.reviews.
Betsy Fahlman examines the exhibition catalogue A Place in the Sun: The Southwest Paintings of Walter Ufer and E. Martin Hennings, edited by Thomas Brent Smith. Meticulously researched and “handsomely produced,” the volume “accomplishes the authors’ intention to restore these figures as artists of exceptional talent who were engaged with the significant art and historical issues of the day.” Read the full review at caa.reviews.
Ralph Lieberman reads Bernard Berenson: A Life in the Picture Trade by Rachel Cohen, “part of a Yale series of biographies entitled Jewish Lives.” In this “clear, concise, and gracefully written retelling of” Berenson’s life, the author “deals well with his contradictory attitudes and conversions from Judaism, but it is difficult to determine from her text exactly what she thinks his Jewishness meant to him.” Read the full review on caa.reviews.
Mark White discusses Jason Weems’s Barnstorming the Prairies: How Aerial Vision Shaped the Midwest. Weems “provides an engaging and thoughtful analysis of how the elevated vantage point helped to create the modern Midwestern landscape and, in turn, informed the region’s identity.” Through case studies, he “explores how the aerial, synoptic view of the prairie fostered changes in the perception of that landscape.” Read the full review on caa.reviews.
Gwendolyn Owns reviews the exhibition catalogue The Idea of the North: The Paintings of Lawren Harris. Organized by the Hammer Museum, the show “attempts to bring this star of Canadian art to the attention of a U.S. audience,” and “the beautifully produced catalogue . . . provides an in-depth examination of one brief period in the artist’s career” and “is a worthy addition to the literature on him.” Read the full review on caa.reviews.
John Klein reviews Matisse in the Barnes Foundation, edited by Yve-Alain Bois. The volume reproduces and catalogues “every one of the Barnes Foundation’s fifty-nine artworks by Matisse” and “goes further,” providing correspondence, “three intellectually stimulating thematic essays,” and a “wealth of historical, biographical, artistic, and historiographic information derived from scrupulous research.” Read the full review on caa.reviews.