Browse Recent Book Reviews

In Forget Photography, Andrew Dewdney calls on scholars to stop using photography theory to understand digital images and the visual cultures they characterize. Made with pixels, circulated by data algorithms and social networks, the computational images that suffuse contemporary life require, in Dewdney’s words: “A more productive discourse in which the hybridity of the networked image, inequality, racism and climate change stand at the centre of concern” (12). It is an expansive, necessary, and difficult goal. Aiming to clear space for this more productive discourse, Forget Photography consigns photography to the past: “The analogue photograph, the world to which… Full Review

In Art, Architecture, and the Moving Viewer, c. 300–1500 CE: Unfolding Narratives, Gillian Elliott and Anne Heath have assembled an excellent collection of essays that considers how medieval spaces and image programs mutably engaged their viewers. While studies of movement through medieval spaces abound, the richly illustrated volume places important emphasis on temporal considerations that play out in the idea of “unfolding narratives.” Indeed, it is this provocative phrase, more than the title’s “moving viewer,” that best signposts the volume’s center of gravity and contribution to the field. The editors’ coauthored introduction begins with the example of the early… Full Review

Alain Locke and the Visual Arts takes a deep critical dive into Alain Locke’s significant contributions to African American and Black diasporic visual culture through critical analysis of his cross-cultural and philosophical writings of the 1930s and 1940s. In his introductory chapter, Mercer establishes Locke as philosophical architect of the Harlem Renaissance and New Negro movement, and as a public intellectual interested in social change in the pluralistic forging of African American identity via cultural pursuits such as art, literature, music, and theater. Mercer dissects Locke’s intercultural approach to the visual arts, reminding the reader that he was foremost a… Full Review

In recent years, architectural history has seen a sizeable growth in research focusing on the built environments of Latin America. Architecture, architects, and increasingly systems and institutions from this area of the so-called “Global South” have been brought to light, analyzed, and given critical attention to the point of shifting the supposed centers and axes of “canonical” modernity. Patricio del Real’s recent book, Constructing Latin America: Architecture, Politics, and Race at the Museum of Modern Art is a most welcome addition to this expanding body of scholarship.  To be sure, this book can be categorized in a variety of manners… Full Review

Mechtild Widrich’s new book offers an argument and a demonstration: To engage with public art today—whether in a scholarly or a public forum—requires a “multidirectional method” attentive to how, within a single site, “multiple historical references reinforce one another and build connections” (14). Monumental Cares: Sites of History and Contemporary Art presents a significant intervention in the art history of public art that makes site-specificity its key term. The book is also a bold contribution to contemporary debates about monument activism. Widrich emphasizes that Monumental Cares is the product of both “research and public engagement” (15)—she is, amongst other public-facing… Full Review

A worthy contribution in the still-growing efforts to de-silo theory from practice in writing and teaching about contemporary art, Mark Staff Brandl’s A Philosophy of Visual Metaphor in Contemporary Art is approachable and informal while being specific and sincere, and a tonal success for the way it loosens up and shakes out the rhetoric, jargon, and tropes common to so much scholarly writing about art. Visual tropes and metaphors (as opposed to literary ones) are central protagonists in Brandl’s philosophy of art, and they anchor his major propositions about the mechanics of visual communication and interpretation. They are not glib… Full Review

In 2007 a popular science book was published, The World without Us, that considered how long it would take for the signs of civilisation to disappear if, by some instantaneous cataclysm, all living humans suddenly vanished. The author, Alan Weisman, suggested that after a few centuries, nature would have reclaimed nearly everything, and then went on to speculate about a distant future in which all human history would be reduced to a layer, just a centimetre or so deep, in the geological record. The book was one of many that have shown a fascination with civilizational apocalypse, motivated by… Full Review

“The flux of life,” wrote Mina Loy in a letter published in The Transatlantic Review in 1924, “is pouring its aesthetic aspect into your eyes, your ears—and you ignore it because you are looking for your canons of beauty in some sort of frame or glass case or tradition. Modernism says: why not each one of us, scholar or bricklayer, pleasurably realize all that is impressing itself upon our subconscious, the thousand odds and ends which make up your sensory everyday life?” (23). The sublime hidden in the everyday, openness to chance and intuition, the democratization of art—all these served… Full Review

Formal analysis and interpretation of artworks often consider art funding trivial compared to historical and social background, especially in societies where art funding is sparse. Sarah-Neel Smith’s Metrics of Modernity: Art and Development in Postwar Turkey focuses on this subordinate, if not often-overlooked aspect of art creation and cultural production. Proposing economy as a crucial metric to production, Smith analyzes the art scene in 1950s Turkey by focusing on two galleries and several influential artists of the time, while giving an overview of social, political, and economic exchange between the United States and Turkey. In doing so, Smith exemplifies recent… Full Review

Scholarship about art and culture in the 1980s Central European socialist bloc often evinces a certain impatience motivated by hindsight. Simply put, we know what is coming to Hungary, Poland, Czechoslovakia, and East Germany in 1989. As a result, inquiry is approached through the lens of the imminent political change and sets as its task the diagnosis of the terminal symptoms preceding these events. In Parallel Public: Experimental Art in Late East Germany, Sara Blaylock, associate professor of art history at University of Minnesota Duluth, invites us to slow down and approach this era outside this teleological frame. By engaging… Full Review