Recently Published Reviews

From the time of its invention, photography has caused trouble for art. Now, in a belated stroke of reciprocity, art is causing trouble for photography. Early signs included photography’s absorption into museum collections and its embrace by the art market. Then came art historians, fueled by the writings of Walter Benjamin and Roland Barthes, arguing that photography had eclipsed painting and sculpture to become art’s medium ne plus ultra. One of the most recent and influential contributions to this line of argument, Michael Fried’s Why Photography Matters as Art as Never Before (New Haven: Yale University Press, 2008) (click… Full Review

Widely celebrated in the United States during the 1950s, Italian artist Alberto Burri (1915–1995) was subsequently forgotten. Forgotten by U.S. institutions, at least, as the nation solidified its claim as the cultural center in the era of Pop. Not so in Italy, where his place in the twentieth century as a key, postwar artist is now firmly established. In Rome, there is no shortage of catalogues to consult and exhibitions to visit. But in Los Angeles (or in English), many have never heard of him. Combustione: Alberto Burri and America, at the Santa Monica Museum of Art, sought to… Full Review

To begin with, I confess that I have some difficulties accommodating myself to wide art-historical surveys such as Alessia Trivellone’s L’Hérétique imaginé, which covers a span of six centuries with the aim of tracing a coherent development of a sole subject, the heretic. I am not stating that my skepticism will diminish if the survey is chronologically narrower or comprehending more subjects; the point is, rather, that I find serious problems with every sort of “coherent development.” The division of the volume into four sections corresponds more or less with what Trivellone maintains to be a coherent… Full Review

These two books, which describe how painters made a living in seventeenth-century Rome, Florence, Bologna, Venice, and Naples, synthesize the work of many dedicated scholars, including some by the authors themselves. As Patrizia Cavazzini notes in her introduction, most research on Italian painting has favored major painters and their patrons, neglecting the large supporting cast who also made a living as painters and decorators in Rome and elsewhere. Some worked assisting painters charged with covering extensive wall surfaces with religious or mythological scenes, providing illusionistic architectural frameworks [quadratura], or adding generic landscape vistas or patches of al antica… Full Review

Patricia G. Berman’s In Another Light: Danish Painting in the Nineteenth Century is a beautiful book about an area of nineteenth-century art that is little known outside of Denmark. Although Robert Rosenblum and Kirk Varnedoe laid the groundwork for understanding the work in a larger European context, the scholarship and publications in English have been modest. Berman rectifies this situation with her well-illustrated and comprehensive book. In Another Light offers an overview of a range of discourses in Danish art, which Berman analyzes as she locates the works in their broader socio-cultural context. When applicable, Berman brings in examples of… Full Review

The Oxford English Dictionary defines the verb “emerge” as: “to come forth into view . . . from an enclosed space.” This definition has implications for the study of landscapes, especially those of the productive English countryside. Tidy patchwork fields and hedgerows have come to be regarded as quintessentially—and innately—English. However, what is not necessarily part of this perception (even though it has long been studied by historians, geographers, and archaeologists) is how such a renowned topography quite literally emerged from systematic enclosures over the past few hundred years. In other words, the English landscape as it is perceived today… Full Review

The art of Daniel Maclise (1806–1870) engaged the most crucial historical, religious, political, and literary issues about national identity in Britain with a rigor and breadth scarcely rivaled in the history of nineteenth-century British art. His work covered diverse historical subjects, including intimate easel paintings devoted to courtly love and large governmental murals celebrating chivalry and the Battle of Waterloo. The attempt by contemporary art historians to revise the canon of nineteenth-century art has encouraged scholars to study Maclise, but such serious attention to his work is new. Until recently, the lack of scholarly engagement with Maclise has partially resulted… Full Review

As declared on the dust jacket for The Possessions of a Cardinal: Politics, Piety, and Art, 1450–1700, “Cardinals occupied a unique place in the world of early modern Europe, their distinctive red hats the visible signs not only of impressive careers at the highest rank the pope could bestow, but also of their high social status and political influence on an international scale.” Often dismissed as a blip by both contemporaries and subsequent historians, the study of ecclesiastics has received limited scholarly attention (excepted for a few good essays and volumes), despite its interested appeal. This book, edited by… Full Review

In looking at modernist buildings, few would be surprised to see ceramic tiles or neocrete coating punctuating the pristine white surface of a rectilinear, multi-level, reinforced concrete building. Projects realized during the interwar period in Japan, however, might also feature wooden pilotis, tatami mats, and thatched roofs. Far from assuming “a style-less style,” as the architect Horiguchi Sutemi claimed of his own creations, the residential, civic, commercial, and recreational structures designed by Horiguchi and his forward-looking peers aimed to create an international architecture, kokusai kenchiku, that expressed the new and modern with distinctive regional inflections. International Architecture in… Full Review

Boris Groys’s Art Power brings together fourteen essays published between 1997 and 2007, and one previously unpublished essay, no date. It ranges over intellectual positions promulgated since the Enlightenment, so the text will be familiar to readers of long-standing disputes about concepts of the modern, the new, the different, the autonomous, the identical, the heterogeneous, et al. All of the essays are written in a philosophical tone, some with astute juxtapositions of art and politics. There are good chapters on Hitler and art and Stalinist dictates in the Soviet Union. Given space limitations, I can only focus on some of… Full Review

Erina Duganne’s The Self in Black and White offers five overlapping case studies of photographic projects created in and around New York City during the postwar period. In four chapters and an epilogue the book explores the photographic practices of the African American Kamoinge Workshop; Bruce Davidson’s “American Negro” project and the Office of Economic Opportunity’s “Profiles of Poverty” exhibition; Davidson and Roy DeCarava’s civil rights photography; DeCarava’s photographs of Harlem; and Dawoud Bey’s “Harlem USA” project. The chapters work together to explore the relational nature of selfhood as expressed through photographic practice. Duganne’s book is an ambitious and… Full Review

William Holman Hunt (1827–1910) lived long enough to see his role as founder of the Pre-Raphaelite Brotherhood embraced and dissected. Like John Everett Millais, he was later charged with abandoning his early revolutionary artistic goals and pandering to mainstream taste. Hunt’s popularity represented less of a movement away from early idealism than a gradual refinement and elaboration of it, and the public came to love the work that resulted. A catalogue accompanying an exhibition with the same title, Holman Hunt and the Pre-Raphaelite Vision offers new insights into how this process unfolded in ten essays, which discuss Hunt’s work from… Full Review

Anne Dunlop’s fascinating volume on domestic wall painting in Italy in the fourteenth and early fifteenth centuries contributes to the study of early Renaissance art in several overlapping ways. Most immediately, it introduces the reader to a group of little-known decorative complexes in private residences throughout the Italian peninsula, although concentrated in its northern areas. Dunlop gathers surviving cycles of wall paintings that are neither religious nor civic, using the term “secular” as a kind of synonym for domestic. None of these works has yet entered the standard canon used to understand the period. In assembling and examining this corpus… Full Review

The exhibition Picasso Looks at Degas at the Sterling and Francine Clark Art Institute opened with a statement attributed to Picasso: “Good artists copy; great artists steal.” That Degas was among those judged worthy of theft—discerned as early as the young Spaniard’s first show in Paris (1901)—was first connected to Les Demoiselles d’Avignon by Robert Rosenblum (in Je suis le cahier: The Sketchbooks of Picasso, ed. Arnold Glimcher and Marc Glimcher. Exh. cat. London: Royal Academy of Arts, 1986, 53–60). In Picasso: Style and Meaning (New York: Phaidon, 2002), Elizabeth Cowling opened the way to a broader affiliation by… Full Review

Over the course of a career that spans more than thirty-odd years, Marina Abramović has maintained an unwavering commitment to a form of performance that tests the psychological and physical extremes of the body. The word “commitment” indeed might be the singular most defining characteristic of her art, as well as her approach to the practice of being an artist. Among an early, important group of artists who moved away from the utilization of inert materials in favor of a direct employment of their own bodies (as tool, medium, performer, instigator, facilitator), Abramović’s recent retrospective at the Museum of Modern… Full Review