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“Do not live in a town without a temple,” says the Tamil epigraph with which Gods on the Move begins. In the Tamil region of South India, large temple complexes can be recognized today in almost every small and big city by their red-and-white striped walls; tall, gaudily painted gateways (gopuras); and a bustle of pilgrims, beggars, and flower-sellers. Branfoot’s interest in the subject was piqued by marketplaces in Cairo, as he states in the acknowledgments. The book explains how and why temples became similarly pervasive spaces for public gathering in the Tamil region; it does so by… Full Review

The title of this far-reaching book suggests a simple journey through time and place. Given the impressive number of sites, authors, and disciplines it engages, however, the reader should envisage a comfortable vehicle and a good deal of time to take everything in, because, more than telling the story of French fascination with the lost world of Pompeii, From Paris to Pompeii explores how archaeology functioned as a metaphor that inspired Romantic cultural productions stretching from literature to art to history. The reader-cum-armchair archaeologist encounters a sprawling complex as rich as the famous buried city itself. While Victor Hugo and… Full Review

There was a time when architecture existed mainly in the physical reality of the built environment and in the imagination. That was before it became a standard ingredient of the contemporary media, and a subject attracting the interest of historians, travelers, writers, and the general population. Exactly how this happened is not easy to reconstruct, but it seems very likely that some major changes took place in the eighteenth century with the emergence of the modern public and its attendant configuration of public and private spheres. In this important book, Richard Wittman suggests that many of the defining… Full Review

For more than a decade, Christopher Pinney has dominated the visual anthropology of photography. His first major book, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997), argued that, despite its long imbrication in projects of colonial documentation and moral education, photography in India is a discourse, an institution, and a set of practices that enabled self-idealization, social masquerade, and a creative destabilization of the very identities that photography, in its colonial mode, had attempted to establish. He analyzed the staging of profilmic moments and the techniques of overpainting, collage, and double exposure by which… Full Review

Despite its relative youth as a field of academic inquiry, the study of photography has reached a point where it has a discernable history. In 2005, two major conferences sought explicitly to wrestle with, outline, account for, and depart from the past twenty-five to thirty years of scholarly writing on photography, which was itself predated by several decades of influential studies of photographic objects within the context of the art museum. The books under consideration here are the edited proceedings of these 2005 conferences; both suggest that, as many scholars have argued about photographs themselves, the field of photography studies… Full Review

With the recent ushering in of the second decade of the twenty-first century and the Era of Obama, the study of the black body has fully entered the field of art-historical and visual culture studies, along with being one of the most popular sites of social, cultural, and political contestation. In fact it has long been a particularly fertile field for academic rumination and semiotic dissection as well as the subject of numerous art collections and archival projects, including Dominique de Menil’s singular Archive of the Image of the Black in Western Art, now in the care of the W… Full Review

There are many reasons to recommend John Peffer’s Art and the End of Apartheid. It makes significant headway toward recording histories and interpreting art of the 1970s and 1980s that were somewhat overlooked post-1994 when South Africa held its first democratic election and art enthusiasts rushed in. (There is some difficulty assigning a date to apartheid’s “end,” but Peffer chooses 1994 for this reason. He “begins” in 1976, when a peaceful march by Soweto students was met with violence. This sparked numerous uprisings nationwide and refueled outright resistance.) The author untangles knotted debates about the call to represent (… Full Review

In Cézanne’s Bathers: Biography and the Erotics of Paint, Aruna D’Souza offers a fresh, original perspective on the bather paintings Cézanne made from the mid-1870s to 1906 as well as what has been written about them. Her book has two main objectives: to analyze the construction of Cézanne’s biography, which has shaped much of the criticism and art-historical analysis of his bather paintings; and to demonstrate that Cézanne imbued his bather paintings with the erotic through his process/technique of painting along with the material of paint itself. The nature of D’Souza’s argument requires clear, precise illustrations, which Cézanne’s Bathers… Full Review

The history of modern interwar architecture has been told many times, first by a generation of critics committed to ensuring that this experiment endured and next by scholars, many of whom were also passionate defenders of what had once been highly experimental forms. The first satisfied itself with the analysis of the physical object (form, plan, construction), supported by the theories of its architects; the second has excavated the archival record, using drawings and letters, but also journal and sometimes even newspaper articles, to reconstruct the design process as well as client demands. Neither Sabine Hake, professor of German… Full Review

Early on in her brilliant book, Art Workers: Radical Practice in the Vietnam War Era, Julia Bryan-Wilson sets out an argument that she proceeds to both reconfirm and complicate, in the ambivalent push-pull that is the signature of her approach: “For artists such as [Carl] Andre activism was an alibi for not making explicitly political art. Perhaps, [Karl] Beveridge and [Ian] Burn suggest, these artists asserted themselves as workers precisely because their labor was no longer evident in their objects. Their politics were displaced onto their personal identities, enacted on the level of personal style rather than artistic content”… Full Review