Concise, critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies

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Melissa Barton
New Haven: Beinecke Rare Book & Manuscript Library, 2017. 144 pp.; 140 color ills. Paper over Board $25.00 (9780300225617)
Beinecke Rare Book & Manuscript Library (01/13/17–04/17/17)
In Archive Fever: A Freudian Impression, Jacques Derrida theorizes the archive in terms of two conflicting forces: the pleasure principle (eros) and the death drive (thanatos). Through these antithetical terms, he suggests that archives are defined by a struggle over what they preserve or save and what they forget or destroy. This leads Derrida to define the “archivization”&nbsp;process as that which “produces as much as it records the event.”<a... Full Review
April 30, 2018
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Ara H. Merjian
New Haven: Yale University Press, 2014. 352 pp.; 83 color ills.; 160 b/w ills. Cloth $75.00 (9780300176599)
Ara Merjian’s commanding monograph, Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris, opens with a reading of Self-Portrait with Double, a picture de Chirico made in 1919, shortly before his epochal retour à l’ordre. In the painting, the artist sits beside a table in a perfunctory room, fixing the viewer with a sober, portentous stare and gesturing toward a marble slab held upright on the tabletop. True to the picture’s title, a ghostly... Full Review
April 27, 2018
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Alison Cole
London: Laurence King Publishing, 2016. 256 pp.; 156 color ills. Hardcover $30.00 (9781780677408)
The art-historical literature on Italian Renaissance courts has traditionally been one of in-depth studies of individual court cities and specific artists. Alison Cole’s lucidly written book summarizes some of this literature for a general audience, focusing on the courts of Naples, Urbino, Ferrara, Mantua, and Milan during the fifteenth century. The work is a revised edition of the author’s 1995 book Virtue and Magnificence: Art of the Italian Renaissance Courts, expanded to... Full Review
April 26, 2018
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Sophie Junge
Berlin: De Gruyter, 2017. 352 pp.; 28 color ills.; 40 b/w ills. Hardcover $126.00 (9783110453072)
Eight years after the first cases of AIDS came to light in the United States, and six years before combined antiretroviral therapy was introduced, the photographer Nan Goldin organized the exhibition Witnesses: Against Our Vanishing at Artists Space, New York. This event, an outcry from an East Village community besieged by the <span... Full Review
April 25, 2018
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Mickalene Thomas
Exh. cat. New York: Aperture, 2015. 156 pp.; 85 ills. Hardcover $65.00 (9781597113144)
Aperture Foundation, New York, January 28–March 17, 2016
Muse: Mickalene Thomas Photographs is a ten-year retrospective of selections of Thomas’s paintings and photographs from 2001 to 2011. The book was the basis for the exhibition Muse: Mickalene Thomas Photographs and tête-à-tête&nbsp;presented at the Aperture Foundation Gallery in New York from January 28 to March 17, 2016. The large-format photograph on the book’s cover, Din, une très belle négresse #1 (2012), is a study in mustard, black, white, and gray of a portrait... Full Review
April 25, 2018
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Cynthia Hahn
University Park: Penn State University Press, 2014. 312 pp.; 43 color ills.; 90 b/w ills. Paper $51.95 (9780271059488)
Medieval reliquaries—metalwork and bejeweled objects housing the relics of saints—often inspire analyses predicated on theories of signs, meaning, and the relationship of text to visual matter. Reliquaries demand such modes of inquiry. They layer their signifying strategies, which range from enamel images to patterned jewel inlay to poetic inscription to crystal windows mediating the display of the enshrined relic. Because they participate in so many sign systems, relics and reliquaries... Full Review
April 24, 2018
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Suzanne P. Hudson
Afterall. Cambridge and London: Afterall Books, 2017. 96 pp.; 16 color ills. Paperback $19.95 (9781846381713)
Suzanne Hudson’s contribution to the One Work series by Afterall (a research center of the University of the Arts London, located at Central Saint Martins) is focused on Night Sea, a painting by Agnes Martin (1912–2004) that Martin completed in 1963. The series is unique in its focus on the critical elaboration, by notable authors in the field, of individual works of art. Suzanne Hudson, associate professor of Art History and Fine Arts at the University of Southern California, has... Full Review
April 23, 2018
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Yale University and National Endowment for the Humanities
Yale University and National Endowment for the Humanities, 2017.
Between 1935 and 1944 the US Farm Security Administration and the Office of War Information (FSA-OWI) commissioned a collection of 170,000 photographs. Ostensibly a public relations project to promote Franklin Delano Roosevelt’s... Full Review
April 23, 2018
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Laurence Terrier Aliferis
Turnhout: Brepols, 2016. 343 pp.; 359 b/w ills. Paperback €125.00 (9782503553177)
Late twelfth- and early thirteenth-century art in northern Europe is often noted for its similarities to Classical art, as evidenced most famously in Nicholas of Verdun’s altar at Klosterneuberg, of 1181; the sculpture of Laon and Chartres; and the Ingeborg Psalter, of ca. 1195. The idea of a “Year 1200 Style,” however, as Konrad Hoffman dubbed it in his catalogue for the The Year 1200 exhibition held at the Metropolitan Museum of Art in 1970, has been considered problematic from... Full Review
April 20, 2018
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andré m. carrington
Minneapolis: University of Minnesota Press, 2016. 304 pp.; 35 b/w ills. Paperback $25.00 (9780816678969)
Depending on the context of its usage, the Spanish term género is definable as either “gender” or “genre.” Katherine Clay Bassard takes up this dichotomy in line with questions of literacy when she opines that “[i]n speaking of gender and genre, then, [she works] from the assumption that form is not merely a matter of free choice or appropriate models but a function of how a writer perceives her/himself in the social order.”<a... Full Review
April 20, 2018
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