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In the decades since Cindy Sherman established her photographic practice as part of the Pictures Generation of the 1970s and early 1980s, her work has provoked polarized opinions. Her relationship with feminism in particular has been hotly debated, with some insisting that her work reveals and subverts the patriarchal nature of the gaze, and others suggesting that Sherman’s use of masquerade merely reinforces the visual dynamics of fetishism. As Jui-Ch’i Liu has suggested, Sherman’s own ambiguous position regarding feminism has only added fuel to these debates (Jui-Ch’i Liu, “Female Spectatorship and the Masquerade: Cindy Sherman’s Untitled Film Stills,” History… Full Review

The Andean Science of Weaving: Structures and Techniques of Warp-Faced Weaves is a monumental volume that contributes an important perspective to the study of Andean textiles: “a world view perceived from a weaver’s ‘fingertips’” (18). This tremendous undertaking by authors Denise Y. Arnold and Elvira Espejo represents years of research and fieldwork experience, as well as extensive and creative thought not only about the way in which weavers of the Andean highlands construct textiles—particularly in Bolivia, and also in parts of Peru—but how this process of making textiles is inextricably integrated into the mindset (and language) of the cultures of… Full Review

What art can do in relation to historical trauma has been discussed most thoroughly through the Holocaust. After (the misreading of) Adorno’s famous dictum on the impossibility of using art to work through a trauma of such scale, art has, from the distance of several decades, more or less successfully returned to the question. Claude Lanzmann’s filmic monument to the catastrophe, Shoah (1985), can stand as an emblem for this aesthetic return. It leveraged a monumental time frame (over nine hours) and the then-current turn to oral testimony on the presumption that the truth-value lay in direct access to history… Full Review

The Institute of Classical Architecture and Art (ICAA), a nonprofit institution located in midtown Manhattan that is devoted to “advancing the practice and appreciation of the classical tradition in architecture, urbanism, and the allied arts,” has recently opened a plaster-cast gallery. A selection of highlights from 120 plaster casts donated by the Metropolitan Museum of Art, as well as casts and wood moldings from the ICAA’s Dick Reid Teaching Collection, are on display in a single room on the building’s top floor. The casts re-create freestanding sculptures, reliefs, and architectural elements that date from the fifth century BCE… Full Review

Traditionally a Romanesque cathedral (ca. 1000–1200 CE) is distinguished from other Romanesque churches because it includes one extra piece of furniture: the cathedra, or bishop’s throne. Since today no single cathedral built between the fourth and the twelfth centuries is preserved in its original shape, it is perhaps difficult to refine this definition of Romanesque cathedrals. Even if the exterior shell of the Romanesque cathedral remains intact, very little is known about the original liturgical furnishings or even the interior decoration. This new collection of essays edited by Gerardo Boto Verala and Justin E. A. Kroesen reveals, however, that… Full Review

Scholarly interest in the enigmatically alluring art of Sargent, galvanized by the 1998–9 retrospective and numerous exhibitions since, is still thriving. In the most recent monograph on the artist, John Singer Sargent and the Art of Allusion, Bruce Redford contends that “no portrait painter in the Anglo-American tradition is more consistently and inventively allusive than Sargent” (15). Redford suggests that Sargent’s sustained childhood exposure to the old masters, his desires to create an elite portrait practice and to craft his own artistic genealogy, and reticence about his sexuality inclined the painter to the adoption of a complex pictorial code… Full Review

Historians of eighteenth-century art, architecture, science, and engineering will undoubtedly have typed out the name “Jombert” many times in their footnotes, for this family was the publisher of nearly a thousand titles between the late 1680s and early 1810s. In a remarkable gift not only to the history of the book, but also to the story of how a pan-European public sphere was formed in which artistic and architectural information was debated, Greta Kaucher has produced a comprehensive study of the Jombert publishing dynasty. Her expansive text is comprised of a rich biography of the family that outlines their professional… Full Review

Installed at the Menil Collection’s Byzantine Fresco Chapel in Houston, Texas, more than four hundred handmade images of the fourth-century saint Fabiola comprise Francis Alÿs’s latest version of The Fabiola Project. Except for a few small objects displayed in an adjoining room, the pictures are hung on a single wall 24 feet tall by 40.5 feet wide. The lower one-third of the works can be inspected closely, but the rest reside too high for such pursuits and are subsequently absorbed into a field of color dominated by the figures’ red veils. Adorning the left-facing profile of a woman, the… Full Review

The first English-language book on this mid-nineteenth-century French painter, The Deaths of Henri Regnault will become an important reference with its many leads for art historians to pursue. Its first four chapters examine Regnault’s decade-long career, which took off when he won the Prix de Rome in 1866 and ended with his death in 1871; the final three examine his posthumous reputation until World War I, when it precipitously declined. Marc Gotlieb’s attempt to revive Regnault’s critical fortunes is laudable but hampered by a tendency to accept and extend Third Republic propaganda that lionized the artist. Regnault’s untimely death coincided… Full Review

It is hard to imagine that a painter as provocative and awe-inspiring as Rembrandt created his oeuvre without having a theory of art. His works are outspoken, offering robust statements (as Hubert Damisch and Mieke Bal would say) about the nature and status of pictorial representation. To have such pictorial statements further articulated and contextualized would have made a great book. However, in Rembrandt: The Painter Thinking, Ernst van de Wetering approaches with great caution the idea that Rembrandt possessed a theory of art, revealing from the outset an ambivalent view of art theory as such. In his preface… Full Review