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Thinking is something we get to enjoy alone, and yet, as Hanneke Grootenboer shows in The Pensive Image: Art as a Form of Thinking, it is also collective. Grootenboer’s own thinking builds on foundations laid by Georg Wilhelm Friedrich Hegel, Martin Heidegger, Walter Benjamin, Roland Barthes, Gaston Bachelard, and Jacques Rancière, as well as by artists, from painters to filmmakers. More unruly and less policed than the discipline of philosophy proper, it belongs to that praxis we know as “theory.” For thinking along with art, Grootenboer demonstrates, discrete ideas, pensées, or Denkbilder, whose compactness already begins to… Full Review

Twenty years after Jane Portal’s introductory survey Korea: Art and Archaeology (Thames and Hudson, 2000), this long-awaited edited volume offers a chance to review the historiography of Korean art history and to see the astonishing developments the field has made over the past number of years. In general, the volume covers cross-cultural connections that deemphasize ahistorical national narratives and illustrate the increasing depth of research on modern and contemporary art. Leading scholars in Korean art provide insightful essays with a preference for historical and social contexts over stylistic analysis. Donald L. Baker’s introduction provides an excellent historical overview. It is… Full Review

Emily Hage’s well-written and lucidly argued book is a valuable contribution to the Dada scholarship. It is not the first study to emphasize the centrality of journals to the Dada movement—Dawn Ades’s pioneering exhibition catalog Dada and Surrealism Reviewed of 1978 did that, as did her Dada Reader, coedited with Hage in 2006. But whereas those volumes (along with the chapters devoted to Dada in The Oxford Critical and Cultural History of Modernist Magazines, vol. 3, 2013) function as surveys and as essential reference resources, Hage’s book offers something different. It provides an introduction, a cohesive narrative, and… Full Review

I winced the first time I read the title of this book. The cause of my trepidation was the quotation marks that enshrined “Black Art.” As a Black queer woman artist who is invested in the representation of Otherness in visual art, the symbols were striking in their evocation because, for me, they immediately raised several questions related to authenticity, aesthetics, and identity. However, my reservations lessened as I read the introductory pages and recognized the exhaustive care and attention that the author devoted to understanding the role canonical African sculpture played in the rise of modernisms in the… Full Review

After a long delay, Japan hosted its second Tokyo Olympics this summer (without an audience, due to the pandemic). When the Olympics were postponed last summer, Netflix premiered a dystopian anime series directed by Yuasa Masaaki, Japan Sinks 2020, a contemporary adaptation of Komatsu Sakyō’s 1973 novel of the same title. The series begins with a massive earthquake destroying Tokyo, including the newly built Olympic stadium and young athletes within. Komatsu’s earlier novel Virus: The Day of Resurrection (Fukkatsu no hi), published in 1964—the year of the first Tokyo Olympics—has also been referenced for eerily predicting a… Full Review

The work of Fernand Khnopff as one of Belgium’s foremost symbolist artists is increasingly attracting scholarly attention. It is no coincidence that in the past few years interesting exhibitions have been dedicated to Belgian symbolism and Fernand Khnopff, such as Dekadenz und Dunkle Träume: Der belgische Symbolismus at the Alte Nationalgalerie in Berlin (2020–21) and Fernand Khnopff: Le maître de l’énigme (1858–1921) at the Petit Palais in Paris (2018–19). One of the directors of the latter exhibition was the Khnopff specialist Michel Draguet, author of several journal articles on Belgian art that are also of particular interest for Khnopff, as… Full Review

In nineteenth-century America, images were powerful tools in the battle to confront slavery and racial oppression. Aston Gonzalez’s Visualizing Equality: African American Rights and Visual Culture in the Nineteenth Century explores how Black artists fashioned radical new imagery that engaged Americans in discussions concerning the politics of race and citizenship. Visualizing Equality focuses on Robert Douglass Jr., Patrick Henry Reason, Augustus Washington, and James Presley Ball, artist-activists who played a leading role in their respective communities, alongside William Wells Brown and Henry Box Brown, who brought real-life experiences of enslavement to their projects. Born free, Douglass, Reason, Washington, and Ball… Full Review

Déborder la négritude, despite its compact format, is a trove of rigorous scholarship and a pleasure to read, with striking visual representations of Dakar and its artistic milieu. Edited by Mamadou Diouf and Maureen Murphy, the book offers a series of reflections on the intertwining of art and politics in relation to négritude and the enduring impact of President Léopold Sédar Senghor (1906–2001). As a poet, philosopher, and statesman, Senghor made his mark in Senegal and abroad through his intellectual prowess and political agenda, two distinct legacies that became deeply intertwined over the course of his multifaceted career. In… Full Review

Within the cult of the Virgin Mary, representations of the Virgin and her miracles in medieval sculpture and painting highlight and reinforce her intercessory powers for devotees. Anna Russakoff’s book Imagining the Miraculous adds to studies of Marian iconography through a focus not on the miraculous objects themselves, but rather on the representations of miraculous images in manuscript illuminations. The illuminations studied are found in thirteenth- to fifteenth-century vernacular French manuscripts containing Marian miracles, including Gautier de Coinci’s Miracles de Nostre Dame, the anonymous Vie de Pères, Jean de Vignay’s Miroir historial, the anonymous Ci nous dit, … Full Review

In the late 1750s a Parisian publisher brought out a luxury edition of Jean de La Fontaine’s fables, with engravings based on drawings by the great animal painter Jean-Baptiste Oudry. Oudry’s design for the fable “The Lion Beaten by the Man” shows a lion in conversation with a group of astonished men in turbans in front of an unstretched canvas hung from a tree depicting a human wrestling a lion into submission. In the accompanying text, the “real” lion remarks that the painter has deceived his human patrons: “We would have in truth prevailed / if my colleagues knew how… Full Review