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Cathédrales 1789–1914: Un mythe moderne provides a rich overview of the post-Revolutionary European fascination for depicting Gothic architecture in art. Reproducing some 180 works by 60 artists working in different media—including painting, sculpture, photography, furniture, jewelry, and wood carving—this beautifully illustrated catalogue is the fruit of an exhibition presented first at the Musée des Beaux-Arts in Rouen and then at the Wallraf-Richartz-Museum and Fondation Corboud in Cologne. Like many commemorative exhibitions from 2014, this one, too, references the Great War, yet it focuses much more on shared values (mutual fascination for cathedrals) than on the cultural antagonism inherent in the… Full Review

The exhibition Whistler’s Mother: Grey, Black, and White is as spare and elegant as the painting it celebrates. It presents James McNeill Whistler’s portrait of his mother, Arrangement in Grey and Black, No. 1 (1871), on loan from the Musée d’Orsay, isolated on a deep grey wall. Quotes from the eminently quotable Whistler and his critics punctuate adjacent walls, as does a copy of the artist’s etching Black Lion Wharf (1859), identified as the framed print in the portrait’s background. The simple installation hews to the painting’s logic, for as Whistler wrote in The Gentle Art of Making Enemies (London… Full Review

The subtitle for the twelfth edition of the Sharjah Biennial—“the past, the present, the possible”—is a term that curator Eungie Joo took from an essay by the French philosopher Henri Lefebvre, who wrote about the concept of the right to the city, calling city dwellers to action in collectively shaping their urban environments. Within the context of Joo’s biennial, the title was deployed to address the role of contemporary art—how art is a vehicle to freely express the intangible through tangible form. Enter Steel Rings (2013) by Rayyane Tabet. On the ground floor of the Sharjah Art Museum, I encountered… Full Review

On first glance, Robin Kelsey’s Photography and the Art of Chance appears to be a playful book. Its cover features three orange balls against a bright blue sky, a detail from Conceptual artist John Baldessari’s 1973 photographic series Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts). However, in both its physical heft and intellectual ambitions, this is not a light or lighthearted book. Instead, this study of photography from its beginnings in the 1830s to its acceptance by the U.S. art world in the 1970s combines a history of the medium with… Full Review

Numerous books have been written about William Edward Burghardt Du Bois. While he is revered for his contributions as a sociologist, historian, and civil rights activist, Du Bois was also a poet, playwright, and novelist, and believed very deeply in the social and political potency of art. Art historians have noted the great influence this pioneering figure had on the careers of early twentieth-century artists. He encouraged the sculptors Meta Warrick Fuller and Edmonia Lewis, as well as the composer Samuel Coleridge-Taylor, to create art that emphasized black subject matter. In his essay “Criteria of Negro Art,” Du Bois formulated… Full Review

Thomas Crow’s scholarship has indelibly shaped the reception of Pop in the field of art history. In his 1996 book, Modern Art in the Common Culture (New Haven: Yale University Press), Crow advanced a reading of Andy Warhol that has had a lasting impact on how scholars understand the artist’s conflicted relationship to mass culture. Specifically, he argued that Warhol’s most powerful work examined the breakdown of commodity exchange in postwar society, an impulse connected to a tradition of truth-telling in U.S. commercial culture. Crow’s interpretation has come to stand for one of the primary methodological approaches to Pop—the “referential”… Full Review

The title under review is about the long lives of books—their authors and content, influential readers and reception. There is something highly satisfying about the structure of the book, for our experience of the changing shape of art history is primarily through the reading of books and measuring their impact from the ensuing debates. Despite the choice of books (rather than the theories, methodologies, or figures that usually structure surveys of modern art historiography), most of the chosen works did articulate a position in the discipline, and most of the essays in The Books That Shaped Art History demonstrate just… Full Review

The midcareer retrospective of the German painter Albert Oehlen (b. 1954) at the New Museum arrives with ample fanfare. Many regard Oehlen as one of the most important painters of his generation, and Home and Garden, organized by artistic director Massimiliano Gioni with curator Gary Carrion-Murayari and assistant curator Natalie Bell, is his first solo museum exhibition in New York. The title, suggested by Oehlen, refers to the idea of both interior and exterior spaces, a thematic thread that runs through the artist’s work, while also making a sly reference to decorating magazines. A more appropriate title might have… Full Review

The interactive website “Object:Photo, The Thomas Walther Collection” (visited March 2016) presents an archive of 241 photographs acquired by the Museum of Modern Art (MoMA) in 2001. The site is part of a multiplatform rollout, including a catalogue (Object:Photo. Modern Photographs: The Thomas Walther Collection, 1909–1949, New York: Museum of Modern Art, 2014) and an exhibition (Modern Photographs from the Thomas Walther Collection, 1909–1949). All three components showcase new research and scholarship on the collection, which was partially supported by funding from the Andrew W. Mellon Foundation. The “Object:Photo” website features traditional scholarly essays… Full Review

Increasing attention to the systemic violence endured by African Americans is raising fundamental questions about what it is like to inhabit that identity. What does it mean to be African American? How does the experience of the African American subject shape the identity of the nation itself? History, of course, informs both these questions and any attempt at answering them. Given that race is partly a visual construct, how African Americans see and are seen is an essential part of this narrative. Since its inception, photography has influenced “habits of looking” (42). Neither fully a photo history nor fully… Full Review