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

Reviews in caa.reviews are published continuously by CAA and Taylor & Francis, with the most recently published reviews listed below. Browse reviews based on geographic region, period or cultural sphere, or specialty (from 1998 to the present) using Review Categories in the sidebar or by entering terms in the search bar above.

Recently Published Reviews

Sophie Gordon
London: Royal Collection Publications, 2013. 256 pp.; 220 color ills. Cloth $60.00 (9781905686186)
Carmen Pérez González
Leiden: Leiden University Press, 2012. 228 pp.; 24 color ills.; 164 b/w ills. Paper $74.95 (9789087281564)
Photographs, especially when experienced as reproductions in a book, have slippery identities teetering between the qualities of each material object and its represented subject. In contexts where collections, especially those in established public institutions, are scarce or difficult to access, the history of photography has tended to become an account of the subjects of pictures rather than the processes and practice of a medium. This tendency has been especially exaggerated in historical accounts of photography in the Middle East. Origin stories for photography in the Middle East often begin with a description of Napoleon’s colonial excursion to Egypt in 1798… Full Review
March 20, 2014
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Joyce de Vries
Women and Gender in the Early Modern World.. Burlington: Ashgate, 2010. 322 pp.; 82 b/w ills. Cloth $124.95 (9780754667513)
Analyses of Madeleine Albright’s brooches, Hillary Clinton’s pantsuits, and Callista Gingrich’s “helmet hair” in the American press underscore the role style can play in commentaries on personality and, more consequentially, in the world of political machinations. In this study of Caterina Sforza’s patronage, Joyce de Vries carefully examines how style was used for similar purposes during an earlier period. On a portrait medal (figs. 1–5), for example, Caterina’s hair is shown bound behind her head, and its decorative ribbons indicate her beauty and conformity to fashion. The hairstyle, with a few locks curling around the face, recalls that of Livia… Full Review
March 13, 2014
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Geoffrey Batchen, Tobia Bezzola, and Roxana Marcoci
Exh. cat. New York: Museum of Modern Art, 2010. 302 ills. Cloth $55.00 (9780870707575)
Exhibition schedule: Museum of Modern Art, New York, August 1–November 1, 2010; Kunsthaus Zürich, Zurich, February 25–May 15, 2011 (under the title FotoSkulptur. Die Fotografie der Skulptur 1839 bis heute)
Anna Dezeuze and Julia Kelly, eds.
Ashgate Studies in Surrealism.. Burlington, VT: Ashgate, 2013. 215 pp.; 39 b/w ills. Cloth $99.95 (9781409400004)
If one were pressed to position a single artistic project at the center of the relationship between sculpture and photography, Brassaï’s Sculptures involontaires seems a good choice. Indeed, both volumes reviewed here—one a catalogue for an exhibition originating at the Museum of Modern Art (MoMA) and the other a collection of essays in Ashgate’s “Studies in Surrealism” series—pivot around Brassaï’s photographs, which were collaborations with Salvador Dalí, who supplied their captions and published them in the Surrealist journal Minotaure in December 1933. As Anna Dezeuze and Julia Kelly write in their introduction to Found Sculpture and Photography from Surrealism to… Full Review
March 13, 2014
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Stephanie C. Leone, ed.
Boston: McMullen Museum of Art, Boston College, 2011. 200 pp.; 15 color ills.; 101 b/w ills. Paper $45.00 (9781892850171)
Stephanie C. Leone’s The Pamphilj and the Arts brings together sixteen essays examining the biography of Cardinal Benedetto Pamphilj (1653–1730), as well as his and his family’s patronage of the visual arts and music. The papers were first assembled for a conference on the Pamphilj and the arts held at Boston College in 2010. The combined expertise of the interdisciplinary scholars assembled by Leone (art historians, musicologists, historians, philologists, linguists, and archivists) reveals a vivid portrait of Pamphilj, whose biography and patronage have been neglected since Lina Montalto’s Un mecenate in Roma barocca: il cardinale Benedetto Pamphilj (Florence: Sansoni, 1955)… Full Review
March 13, 2014
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Jessica Morgan and Ulrich Lehmann
Exh. cat. New York: Kiito-San, 2013. 650 pp.; many color ills.; many b/w ills. Paper $40.00 (9780984721047)
Exhibition schedule: Museum of Contemporary Art, Los Angeles, April 21–August 19, 2013
For keen-eyed visitors, the exhibition URS FISCHER, mounted at the Museum of Contemporary Art, Los Angeles (MOCA), last summer, began at the ticket booth located on the museum’s street-level outdoor plaza. There viewers encountered a sign that read, “Please note that one sculpture in URS FISCHER contains a combination of substances which produce mold,” preparing them both to appreciate and be wary of the artist’s sculptural aesthetic of decay, often literalized through the use of decomposing organic materials (fruit, bread), melting wax, or crudely formed works that give the impression they could fall apart at any moment… Full Review
March 7, 2014
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Mitchell Merling, Malcolm Cormack, and Corey Piper
Exh. cat. Richmond: Virginia Museum of Fine Arts, 2013. 124 pp.; 165 color ills. Paper $35.95 (9781934351031)
Exhibition schedule: Virginia Museum of Fine Arts, Richmond, August 31, 2013–July 13, 2014
The Virginia Museum of Fine Arts (VMFA), home to a sizeable part of the Paul Mellon Collection of Sporting Art and the largest permanent display of British sporting art in the world, provides an ideal venue for a show dedicated to the presentation of sporting prints. While there have been recent exhibitions on sporting painting and sculpture, including Country Pursuits at VMFA in 2007, this is the first large-scale exhibition on prints outside of galleries and auction houses. Accompanied by a beautifully illustrated catalogue, the exhibition endeavors to locate this genre within the context of eighteenth- and nineteenth-century British artistic… Full Review
March 7, 2014
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Fred Ritchin
New York: Aperture, 2013. 175 pp.; 40 color ills. Paper $19.95 (9781597111201)
When the French daily Libération published its November 14, 2013, print edition “sans photo,” marking photography’s absence with empty white fields, did its public, as it read that day’s “paper,” take note? Or did it encounter this smart protest against the decline of the photojournalist’s profession as a meme, liking and sharing it on smartphone screens? Did Libération strip its website and app edition of photographs too? Such questions are not easy to answer in retrospect, as homepages do not appear to be archived, and who, if anyone, loaded a screenshot onto a blog? The state of photojournalism in the… Full Review
March 7, 2014
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Hugh Belsey
Exh. cat. London: Paul Holberton, 2013. 120 pp.; 80 color ills. Paper $40.00 (9781907372506)
Exhibition schedule: Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA, June 1–December 2, 2013
In his latest publication, Gainsborough’s Cottage Doors: An Insight into the Artist’s Last Decade, Hugh Belsey highlights the spirited independence and skillful professional maneuvering of the artist he has researched for most of his career. More specifically, Belsey points out how Thomas Gainsborough’s attitudes and decisions, especially in relation to his rival, Sir Joshua Reynolds, as well as the Royal Academy, clarify the creation of the celebrated Cottage Door (ca. 1780) painting in the Huntington Library, Art Collections, and Botanical Gardens and two subsequent similar versions. Indeed, the book coincides with the exhibition of all three canvases together for… Full Review
February 27, 2014
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Finola O'Kane
London: Paul Mellon Centre for Studies in British Art, 2013. 240 pp.; 120 color ills.; 45 b/w ills. Cloth $85.00 (9780300185386)
With the publication in 1778 of A Guide to the Lakes in Cumberland, Westmorland, and Lancashire, antiquarian, writer, and ordained Jesuit priest Thomas West (1720?–1779) contributed to and capitalized on the growing interest in exploring the aesthetic significance of British landscape. The first edition was a success, but West died before seeing the book go into a second, which was expanded and made “decently perspicuous and correct” by the writer William Cockin (1736–1801) (reprinted in 4th ed., London: W. Richardson, 1789, 90). Despite the Guide’s initial success, Cockin included in the preface a curiously belittling description of the… Full Review
February 27, 2014
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Aida Yuen Wong, ed.
Hong Kong: Hong Kong University Press, 2012. 196 pp.; 21 color ills.; 46 b/w ills. Paper $25.00 (9789888083909)
Within modern East Asian art and visual culture the politics of beauty have revolved around two notable archetypes: the “Modern Woman” and the “Traditional Woman.” The Modern Woman—also known as the “modern girl” or “new woman”—was identifiable by her bobbed haircut and flapper dress and embodied the flamboyant lifestyle of the self-motivated working girl. The Modern Woman challenged social mores by publicly asserting her sexuality, intelligence, and individualism. In contrast, the Traditional Woman, or “good wife, wise mother,” was based on a Confucian model of womanhood in which moral education and homemaking skills, rather than wage employment, cultural and intellectual… Full Review
February 27, 2014
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Melanie Doderer-Winkler
London: Paul Mellon Centre for Studies in British Art, 2013. 270 pp.; 133 color ills.; 100 b/w ills. Cloth $75.00 (9780300186420)
By rights, a book about temporary Georgian festival architecture should be the very definition of scholarly navel-gazing. But in our modern era of tablescapes, wall treatments, chalk art, digital holograms, and laser light shows, this illuminating survey of eighteenth-century event planning feels perversely contemporary—as relevant as it is revelatory. In Georgian England, extravagant decorative and architectural effects were employed for large-scale public displays and elite private entertainments alike. Frequently, these one-off installations celebrated momentous events such as military victories and royal birthdays. “All these decorations were in their time an integral part of a culture rich in visual… Full Review
February 21, 2014
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John Peffer and Elisabeth L. Cameron, eds.
African Expressive Cultures.. Bloomington: Indiana University Press, 2013. 472 pp.; 151 color ills. Paper $35.00 (9780253008602)
Tamar Garb, ed.
Göttingen: Steidl, 2013. 352 pp.; 215 ills. Cloth €68.00 (9783869306513)
In 2013, the names of Malian portrait photographers Seydou Keita and Malick Sidibé may be familiar to the art-viewing public in Europe and the United States, but this was not always the case. In fact, it was a little over twenty years ago that Keita’s studio portraits were first shown in the United States in the Museum for African Art’s exhibition Africa Explores: 20th Century African Art (1991). The timing of that appearance coincided with significant intellectual shifts taking place in the study of African art, and subsequently the field of African photography grew as an area of scholarly pursuit… Full Review
February 21, 2014
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Hanneke Grootenboer
Chicago: University of Chicago Press, 2012. 300 pp.; 24 color ills.; 53 b/w ills. Cloth $45.00 (9780226309668)
Social media networks like Facebook make us anticipate the moment we turn into objects under another person’s gaze. Yet this experience of becoming a spectacle, and organizing our lives accordingly, is hardly new. Nor is the very small size that our portraits will usually take in these types of media: as Hanneke Grootenboer points out in Treasuring the Gaze, the format of a photo on a smartphone screen is remarkably similar to that of the pre-photographic portrait miniature. In her new book, Grootenboer focuses on a short-lived subgenre of the portrait miniature, the so-called eye miniature or eye portrait… Full Review
February 21, 2014
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Sharon Gregory
Visual Culture in Early Modernity.. Burlington: Ashgate, 2012. 460 pp.; 12 color ills.; 140 b/w ills. Cloth $124.95 (9781409429265)
Sharon Gregory’s Vasari and the Renaissance Print lays out in orderly fashion the story of prints as told by, and used by, Giorgio Vasari. The strength of the book is its wide-ranging inclusion of all types of print interactions, along with a catalogue of prints mentioned in the Lives. Acknowledging her debt (8) to Patricia Rubin’s landmark book, Giorgio Vasari: Art and History (New Haven: Yale University Press, 1995), Gregory focuses attention on Vasari’s inclusion in his second edition (1568) of a history of printmaking embedded in the life of Marcantonio Raimondi. She carefully traces Vasari’s mentions of prints… Full Review
February 13, 2014
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Stephen J. Campbell and Michael W. Cole
New York: Thames and Hudson, 2011. 696 pp.; 703 color ills.; 114 b/w ills. Paper $112.50 (9780500289433)
Italian Renaissance Art by Stephen J. Campbell and Michael W. Cole provides a new textbook alternative for those who teach the Italian Renaissance, joining established texts like John T. Paoletti and Gary M. Radke’s Art in Renaissance Italy and the venerable History of Italian Renaissance Art by Frederick Hartt and David G. Wilkins. While all of these texts are written by leading scholars and largely cover the same material, they do so in distinct ways. History of Italian Renaissance Art, which was first published in 1976, taken over by Wilkins in 1994, and is currently in its seventh edition… Full Review
February 13, 2014
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