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

Elizabeth Hope Chang
Palo Alto, CA: Stanford University Press, 2010. 256 pp.; 12 b/w ills. Cloth $55.00 (9780804759458)
In Britain’s Chinese Eye: Literature, Empire, and Aesthetics, Elizabeth Chang contends that as a place, a product, and an idea China provided a crucial counterexample to emergent modernist trends of visual and literary realism in Victorian Britain. She argues that, “In the century in which realism reached its greatest heights, the persistence with which authors and artists continued to invoke a defiantly antirealist aesthetic that they claimed to be Chinese demonstrates an aspect of realism’s development that has so far received little attention” (5). The use of the image of China as a foil that serves to reinforce Enlightenment… Full Review
December 8, 2011
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Douglas Fordham
Philadelphia: University of Pennsylvania Press, 2010. 352 pp.; 87 b/w ills. Cloth $65.00 (9780812242430)
In British Art and the Seven Years’ War: Allegiance and Autonomy, Douglas Fordham offers an original and provocative re-interpretation of the emergence of public art and art institutions in eighteenth-century Britain. Scholars have long noted that the 1750s and 1760s were marked by increasing concern about the development and institutionalization of a school of British art. “Why,” Fordham asks, “did the visual arts become a pressing national concern at this moment in Britain’s history?” (1) He argues that any answer to such a question must take into account the “transformative place in British culture” (2) occupied by the Seven… Full Review
December 8, 2011
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Lisa Pon
New Haven: Yale University Press, 2004. 224 pp.; 37 color ills.; 58 b/w ills. Cloth $65.00 (9780300096804)
Henk Tromp
Amsterdam: Amsterdam University Press, 2010. 351 pp.; 42 color ills.; many b/w ills. Paper $49.50 (9789089641762)
Paul Craddock
Oxford: Butterworth-Heinemann, 2009. 640 pp. Cloth $200.00 (9780750642057)
The art world wants to be deceived. That is certainly the conclusion one comes away with after reading A Real Van Gogh, Henk Tromp’s thoroughly researched, highly readable, fascinating new book, which uses the history of van Gogh authenticity and forgery debates to discuss what happens in the art world when someone cries wolf. It is not a pretty picture for the expert who deigns to proclaim a work inauthentic. Tromp’s book does an admirable job of balancing a text that is rigorous in its academic research (use of primary source documents, copious citations, application of… Full Review
December 8, 2011
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Bruce Redford
Exh. cat. Los Angeles, CA: Getty Trust Publications, 2008. 232 pp.; 105 color ills.; 45 b/w ills. Cloth $49.95 (9780892369249)
Ilaria Bignamini and Clare Hornsby
2 vols.. New Haven: Yale University Press, 2010. 622 pp.; 50 color ills.; 200 b/w ills. Cloth $85.00 (9780300160437)
Jason M. Kelly
New Haven: Yale University Press, 2010. 366 pp.; 43 color ills.; 125 b/w ills. Cloth $75.00 (9780300152197)
These three recent books explore an eighteenth-century British engagement with classical archaeology during a time when the practice was transforming from an early modern antiquarianism into a modern scientific discipline. Two of the books are monographic studies of the Society of the Dilettanti, an organization that became known for its support of unprecedented archaeological activity in Greece, while a third outlines how British subjects, some of whom were Dilettanti, undertook archaeological excavations on Italian soil and refurbished, sold, and bought the antiquities found there. In some measure, all the authors note this engagement as integral to shaping British cultural identity… Full Review
December 1, 2011
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Caroline Hancock, Franck Gautherot, and Seung-Duk Kim, eds.
Exh. cat. Dijon: Les presses du réel, 2009. 480 pp.; 356 ills. Cloth $60.00 (9782840663584)
Exhibition schedule: Van Abbemuseum, Eindhoven, Netherlands, June 20–October 4, 2009; Irish Museum of Modern Art, Dublin, Ireland, November 4, 2009–January 24, 2010; Le Consortium, Dijon, France, April 2–June 20, 2010; Museum of Art, Rhode Island School of Design, Providence, October 1, 2010–January 9, 2011; New Museum, New York, February 9, 2011–June 19, 2011
The opening of Lynda Benglis at the New Museum marked a surprising milestone in the artist’s career: despite having been a fixture of the New York art world since her arrival from New Orleans in 1964, it was her first solo museum exhibition in New York. What took so long? The story behind Contraband (1968), installed in the New Museum’s glassed-in lobby gallery and the first piece encountered by visitors to the show, hints at reasons for Benglis’s absence. It is a prime example of her “fallen paintings,” the vast “spills” of pigmented latex for which Benglis is best known… Full Review
December 1, 2011
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Glyn Davies and Kristin Kennedy
London: V&A Publishing, 2009. 320 pp.; 350 color ills. Cloth $80.00 (9781851775798)
This sumptuously produced and lavishly illustrated volume celebrates the reopening of the Victoria and Albert Museum’s Medieval and Renaissance galleries. It is not a traditional catalogue; readers in search of entries on specific objects are referred to the museum’s website. The director’s forward mentions several aims for the book, among them “to provide a stimulating introduction to the material culture of medieval and renaissance Europe” and to stand as a “new and original contribution to the literature on the art of the Middle Ages and Renaissance.” In these ambitious goals, presumably addressing the casual visitor and the specialist respectively, Glyn… Full Review
December 1, 2011
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Malcolm Jones
New Haven: Paul Mellon Centre for Studies in British Art in association with Yale University Press, 2010. 352 pp.; 30 color ills.; 220 b/w ills. Cloth $95.00 (9780300136975)
Until recently, the printed image in early modern England—the period 1500–1700 covered by Malcolm Jones’s The Print in Early Modern England: An Historical Oversight—has been the victim of neglect by scholars, leading to the false impression that early modern English culture was predominantly a textual instead of a visual one. It has been accepted as conventional wisdom that there were very few English prints from this era, and those that do exist are crude when compared to the staggering developments in other Northern European regions such as the German-speaking territories, France, and the Netherlands. Furthermore, English trained art historians… Full Review
November 23, 2011
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Mark Haworth-Booth
Exh. cat. Los Angeles: J. Paul Getty Museum, 2010. 160 pp.; 113 color ills. Cloth $40.00 (9781606060254)
Who really was Camille Silvy? This is one of the thorny questions that remains after reading Mark Haworth-Booth’s enthusiastic biography, Photography of Modern Life: Camille Silvy. Like most commercial photographers who set up portrait studios in the 1850s, Silvy combined elements of entrepreneur, charlatan, genius, and hack. French by birth, Silvy lived in London during most of his ten years of photographic activity where he carved out a reputation based on the hundreds of cartes de visite that he successfully marketed to London’s fashionable world and on a couple of landscapes that he exhibited to much acclaim in 1859… Full Review
November 23, 2011
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Martina Bagnoli, Holger A. Klein, C. Griffith Mann, and James Robinson, eds.
Exh. cat. Baltimore: Walters Art Museum, 2010. 278 pp.; 300 color ills. Cloth $65.00 (9780300168273)
Exhibition schedule: Cleveland Museum of Art, October 17, 2010–January 27, 2011; Walters Art Museum, Baltimore, February 13–May 15, 2011; British Museum, London, June 23–October 9, 2011
A golden man clad in church vestments faced visitors as they entered Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe at the Walters Art Museum this spring. Refulgent against the deep blue walls of the entry room, the metallic statue extended his hands in a communicative gesture. His eyes of polished ivory and horn appeared to be alert, seeing. This was not an art installation so much as an interpersonal encounter. A text panel on his pedestal introduced him as the reliquary bust of St. Baudime, who, according to legend, was sent to Gaul by St. Peter… Full Review
November 23, 2011
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Cassandra Albinson, Peter Funnell, and Lucy Peltz, eds.
Exh. cat. New Haven and London: Yale Center for British Art, National Portrait Gallery, London, and Yale University Press, 2011. 280 pp.; 160 color ills.; 20 b/w ills. Cloth $70.00 (9780300167184)
Exhibition schedule: National Portrait Gallery, London, October 21, 2010–January 23, 2011; Yale Center for British Art, New Haven, February 24–June 5, 2011
“How various he is!” Thomas Gainsborough’s tribute to Joshua Reynolds applies equally well to their successor in grand-manner portraiture. It is one of the signal achievements of Thomas Lawrence: Regency Power and Brilliance that it removes any lingering traces of the negative stereotype: Lawrence the slick, formulaic sycophant who prostituted his gifts in the service of a decadent Regency elite. In its place this wide-ranging exhibition and thoughtful catalogue substitute a dynamic, probing, and inventive explorer of human psychology—one who is keenly attentive to the interplay of surface and depth, social mask and private self. Even Lawrence’s most public statements… Full Review
November 17, 2011
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Thomas F. X. Noble
Philadelphia: University of Pennsylvania Press, 2009. 496 pp. Cloth $65.00 (9780812241419)
This is a big book in every sense. In seven long and detailed chapters Noble offers nothing less than a survey and analysis of Byzantine and Carolingian theology around the question of the place of images in religious worship, with a dash of historiography thrown in for good measure. It is a thought-provoking study which places the issues in historical, political, and social contexts, and raises crucial questions about the relationships between Byzantium and the West. It is a book that should change the ways that we think about issues concerning art in the eighth and ninth centuries. Images,… Full Review
November 17, 2011
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Karen Fiss
University of Chicago Press, 2009. 296 pp.; 95 b/w ills. Paper $37.50 (9780226252018)
From the onset of the world economic crisis in 1929 until the end of the Second World War in 1945, artists in Europe and the Americas took positions in the struggles between parliamentary democracies, fascist dictatorships, and left-wing regimes. The single best-known artistic product of that historical moment is undoubtedly Picasso’s Guernica, which was hung in the modernist pavilion of the embattled Spanish Republic at the World Exposition in Paris in the summer of 1937. However, the Spanish display was overshadowed at that time by the towering neoclassical pavilion of National Socialist Germany and the dynamic masses of its… Full Review
November 10, 2011
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Deborah Mauskopf Deliyannis
New York: Cambridge University Press, 2010. 464 pp.; 15 color ills.; 103 b/w ills. Cloth $99.00 (9780521836722)
In her important work, Ravenna in Late Antiquity, Deborah Deliyannis provides a detailed synthesis of the available material on Ravenna from the Roman period through until AD 850. As she briefly mentions at the end of her review of earlier scholarship, “There has as yet been no sustained scholarly treatment of Ravenna, in English, and this book is intended to address that void” (13). Deliyannis does exactly this, combining textual, archaeological, and artistic evidence in a clear and sophisticated way for readers who were perhaps put off by the extensive German text of F. W. Deichmann’s earlier synthesis (F… Full Review
November 10, 2011
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Jeffrey W. Cody and Frances Terpak, eds.
Exh. cat. Los Angeles: Getty Research Institute, 2010. 220 pp.; 61 color ills.; 75 b/w ills. Cloth $45.00 (9781606060544)
Exhibition schedule: Getty Research Institute, Los Angeles, February 8–May 1, 2011
Terry Bennett
History of Photography in China, vol. 1.. London: Bernard Quaritch, Ltd, 2009. 242 pp.; 150 ills. Cloth £50.00 (9780956301208)
Terry Bennett
History of Photography in China, vol. 2.. London: Bernard Quaritch, Ltd, 2010. 420 pp.; 400 ills. Cloth £70.00 (9780956301215)
It is not a coincidence that these three recent publications on photography in China all begin with a lament on the obstacles involved with studying this subject. Indeed, since there is rarely a concentrated archive of photo studios or photographers in China, information can only be gleaned from newspaper advertisements, travel writing, correspondence, and ephemera. Actual photographs are not abundant either, as political chaos over the past century resulted in their significant loss and destruction. The extant photographic materials in Chinese public collections are generally inaccessible; those in private collections are increasingly visible, thanks to the popular Old Photographs series… Full Review
November 10, 2011
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Greg Hill, ed.
Exh. cat. Ottawa: National Gallery of Canada, 2010. 140 pp.; many color ills. Paper $56.95 (9780888848765)
Exhibition schedule:National Gallery of Canada, Ottawa, October 21, 2010–January 16, 2011; Museum of Anthropology, University of British Columbia, Vancouver, April 7–May 29, 2011; Winnipeg Art Gallery, June 30–September 11, 2011; National Museum of the American Indian, New York, October 29, 2011–April 15, 2012; MacKenzie Art Gallery, Regina, Saskatchewan, September–November 2012; Thunder Bay Art Gallery, Thunder Bay, January–March 2013
In my first Native art history class in the mid-1990s, my professor introduced the work of Carl Beam, theretofore unknown to me. She presented Self Portrait in My Christian Dior Bathing Suit (1978–1980), which depicts the artist in a Speedo-style swimsuit, standing legs apart with one hand on his hip and inscribed with a handwritten statement expressing his authority and claim to the work. It conveys humor, irony, incisiveness, and defiance. To my mind, then gripped by postcolonial and feminist cultural critiques, the painting crystallized issues of representation and refusal, and did so in beautifully executed washes of watercolor. I… Full Review
November 3, 2011
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