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The heart of the Isabella Stewart Gardner Museum is its four-story Venetian courtyard around which circle palatial rooms lined with exquisite tapestries, treasures of Medieval and Renaissance art, gems of U.S. painting, and sumptuous holdings of decorative arts. Along the narrow paths of the central garden rest Grecian urns and a gently running fountain. It was here, one night in the winter of 2007, that Taro Shinoda, a guest at the Gardner’s artist-residency program, looked up into the moonlight and began to conceptualize Lunar Reflection Transmission Technique, a video installation presented in its third and most developed incarnation at… Full Review

Lucy Freeman Sandler is a preeminent member of a generation of scholars that transformed illuminated manuscript research from a niche discipline into a vibrant and expansive field within the study of Medieval art. To trace Sandler’s achievements is to map a chronology of major critical and methodological developments in the field. Earlier monographs on devotional manuscripts like the fourteenth-century Psalter of Robert de Lisle and the Peterborough Psalter are exemplary studies of iconography and style that remain the authoritative sources on these subjects. Later works, such as a monograph on the production of a manuscript of the clerk James le… Full Review

Since John Tagg published his first book, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988), he has been one of the most recognized figures in photographic theory. He is part of a brilliant generation of Anglo-American authors who emerged from the 1968 political movement, appeared in the public arena in the context of the 1970s New Art History, and whose contribution to a theorization of photography using the tools of Marxism, poststructuralism, Gramscian cultural studies, feminism, and psychoanalysis remains unsurpassed. Tagg himself recently formulated the project of this group in these terms: “we… Full Review

While the essays in Art History and its Institutions: Foundations of a Discipline, edited by Elizabeth Mansfield (New York: Routledge, 2002), explored art history's beginnings as an academic discipline in the nineteenth century, her latest edited volume on the subject, Making Art History: A Changing Discipline and its Institutions, examines its recent past. The consistently high-quality contributions link principles and assumptions that have structured art-historical study with current dilemmas and developments. Key for Mansfield is the notion of art history as institution as embodied in a group of identifiable "organizing principles" able to shape conduct and propagate "particular… Full Review

Audiences of nineteenth- and twentieth-century African art can frequently be found pressing their noses up against museum-cabinet glass trying to find a better view of the object. This is because one of the most exciting aspects of African sculptural work is the complex surface detail. Even more aggravating for the viewer, the exhibition label often features a non-descript text noting that the work is made of “wood and organic matter.” But what is it? Surely the museum tested the object to identify these different sculptural surfaces. Editors Leonard Kahan, Donna Page, and Pascal James Imperato seek to placate the audience’s… Full Review

One critical question for exhibiting past art is its contemporary relevance. Instead of asserting a work’s temporal transcendence, a more convincing way to prove its enduring life is to show that it can still captivate an audience and contribute to the creation and appreciation of art today. This is the approach taken by the exhibition Looking for Antonio Mak, an extraordinary show that brought an unprecedented vitality to the Hong Kong Museum of Art. Centered on the much-esteemed late sculptor, the exhibition prompted an engaging conversation between Mak, eight collaborating artists, and the audience. Antonio Mak Hin-yeung (1951–1994)… Full Review

The health of a discipline is often revealed in the questions it asks of itself, and in its self-consciousness about its origins and development over time. Internationalizing the History of American Art, edited by Barbara Groseclose and Jochen Wierich, is marked throughout by such questioning and self-examination. It distinguishes itself from other overviews of the development of the history of American art by its critical examination of “the transmission and exchange of ideas about American art and its history in an international context” (1),[1] a context embodied, in part, in the biographies of the authors included in the anthology… Full Review

Literature and photography grew up together, François Brunet observes in his valuable survey of interactions between the two forms. At the invention of photography in 1839, literature was taking shape as a specialized type of writing, most often fiction and poetry, “an individual pursuit with a reflexive, aesthetic ambition, as well as a claim to deliver truths about society” (10). Consequently, William Henry Fox Talbot’s Pencil of Nature (1844–46) deserves to be understood not only as the first photography book but as an assertion of “photography as experience,” as “expression of the self,” along the lines of contemporaneous literary explorations… Full Review

Leonardo da Vinci: Hand of the Genius, organized by Atlanta’s High Museum of Art in collaboration with the J. Paul Getty Museum, Los Angeles, and the Opera di Santa Maria del Fiore and Opificio delle Pietre Dure in Florence, Italy, aims to explore an aspect of Leonardo’s wide-ranging interests long acknowledged but still poorly understood. That Leonardo studied from, theorized on, and made designs for sculpture has been established through his drawings and writings yet is frustratingly absent in surviving works. This small but rich exhibition aims to bridge this gap by displaying well-known drawings alongside three-dimensional works by… Full Review

In 1870, a North Adams, MA, shoe manufacturer named Calvin Sampson faced a labor crisis. His mostly French Canadian workforce had organized themselves into a union and had gone out on strike, demanding a closed shop and the right to tie their wages to Sampson’s profits. Sampson sent his superintendent to San Francisco to hire strikebreakers. On June 13, 1870, 12,000 local residents gathered at the North Adams train station to await the arrival of Sampson’s new recruits: seventy-five Chinese laborers, mostly under twenty years old. Miraculously, the newcomers made it to Sampson’s factory unscathed. Sampson’s first act, oddly enough… Full Review