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Browse Recent Reviews
John Wood's edited book is an engaging volume that links theoretical and artistic explorations of information technology. Although the two are currently not as complementary as I would desire, the book suggests the great potential for such collaborations. The five sections of the book contain high-caliber work covering a sweeping range of topics, including virtual reality, knowledge production, ethics, and performance art. The first two sections of the book are theoretical. The other three sections describing artistic projects are strong in their own right, but do not sufficiently complement the theoretical chapters.
The main impetus for the book…
Full Review
January 3, 2000
Historians of South Asian art and culture often use models of dynastic patronage and stylistic influence as tools to evaluate the wealth of artistic material that populates India's countryside and museums. In his new book, Andrew L. Cohen critically wrestles with these models, revealing their weaknesses in addressing material that defies their pre-conceived frameworks. Cohen's examination of the southern Nolamba kingdom published in Temple Architecture and Sculpture of the Nolambas: Ninth-Tenth Centuries provides an excellent case study to challenge the appropriateness of categories like regional and dynastic style.
The Nolambas were a relatively small South Indian kingdom whose…
Full Review
January 1, 2000
Orientalism Transposed takes on two formidable tasks: to connect the methodologies of art history with the insights of postcolonial scholarship on Orientalism, and at the same time to shift the perspective from which Orientalism has traditionally been formulated. I say formidable, because incorporating both of these elements in a volume accessible and useful for both art historians and postcolonial culture scholars is a difficult balancing act. It requires that one combine theoretical apparati from Saidian Orientalism to Bhabha's "sly civility" while discussing works of art--something neither of those theorists did. Each essay in the volume approaches the colonial encounter and…
Full Review
January 1, 2000
The Restoration has probably received less attention than any other period in nineteenth-century French art history. Long identified with a repressive political regime, it has long been ignored as a discrete period, although many artists, such as Ingres and Delacroix, produced their most memorable work at this time. Marie-Claude Chaudonneret, one of the most eminent French art historians, has now filled this gap with a thorough history of the period. Her previous work on the Troubadour painters was notable for its solid research and she has now brought the same approach to this period.
As the title implies, …
Full Review
January 1, 2000
Winner of CAA's "Charles Rufus Morey Book Award":http://www.collegeart.org/caa/aboutcaa/morey.html
Jeffrey Hamburger's collection of essays, The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany, examines the function of religious images in the context of female enclosure in the later Middle Ages. Hamburger's stated objective is twofold: to explore art that medieval women commissioned, or that their superiors commissioned for them; and to situate this art in the context of enclosure. Hamburger began research that led to this publication in 1989. Six of these nine essays have been previously published, but revised for this collection. Though…
Full Review
January 1, 2000
This is an ambitious book on the historiography of seventeenth-century Dutch art and culture, containing essays written by many of the most influential Dutch archivists, art historians and historians at work in the 1990s: Marten Jan Bok, Jeroen Boomgaard, Dedalo Carasso, Frans Grijzenhout, E. de Jongh (with two essays), J.J. Kloek, Eveline Koolhaas and Sandra de Vries, E.H. Kossmann, Debora J. Meijers, N.C.F. van Sas, Eric J. Sluijter, and Lyckle de Vries. Edited by Grijzenhout and Henk van Veen, it originally appeared in a Dutch edition of 1992, and was written in conjunction with…
Full Review
January 1, 2000
For tourists driving to Acadia National Park on Maine's coastal Route 1, the Farnsworth Art Museum in Rockland has become an increasingly popular and rewarding stop. Having long enjoyed a regional reputation for its noteworthy collection of American art, the institution (which includes the adjacent Farnsworth Homestead and the Olson House in nearby Cushing) recently attracted national attention with the opening of the Wyeth Center in 1998. Maine artists and subjects figure prominently at the Farnsworth, but this emphasis by no means constitutes provincialism. Quite the contrary, enriched by the late philanthropist Elizabeth Noyce's bequest of seventy Maine paintings by…
Full Review
January 1, 2000
In 1126, Fujiwara no Kiyohira dedicated a Buddhist Canon in more than 5,000 fascicles copied in alternating columns of gold and silver ink on indigo paper. This Canon is unique in Japan because of the gold and silver script and also because Kiyohira was the only commoner of his day to sponsor an entire Buddhist Canon. Kiyohira, the descendant of Emishi ("toad barbarians"), ruled from Hiraizumi, capital of a stronghold in northern Honshu that has been variously identified as a kingdom, a polity, a military government, and as "the Buddhist heaven of the eastern barbarians" (202). Kiyohira's son Motohira and…
Full Review
January 1, 2000
Thomas Crow is one of the most exacting and vigilant of art historians, never prone to following received opinions, methods, or practices. His way of thinking has sometimes produced works that are exemplary in their circumspection and nuance; the theory of society and art embedded in the opening chapter of Modern Art in the Common Culture has yet to be adequately answered.
The Intelligence of Art is an attempt to say more generally, but with the precision afforded by individual examples, where the discipline of art history might find promising models. Crow is especially concerned with what he…
Full Review
January 1, 2000
This book takes on the challenging topic of Italian (despite its title) Renaissance portraiture and self-fashioning, but with a particular focus, that of artists' self-portraits. The author's premise is that the increasing number of such self-portraits over the fifteenth and sixteenth centuries marks the changing status of the artist within the culture from craftsman to intellect. Such an evolutionary claim is certainly supported by historical evidence familiar to students of the period, most notably the application of the epithet of "divino" to artists like Michelangelo and Titian toward the end of the period Woods-Marsden discusses and by Castiglione's assertion in…
Full Review
January 1, 2000
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