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Margo Natalie Crawford’s titular concept in Black Post-Blackness: The Black Arts Movement and Twenty-First-Century Aesthetics is oceanic: it is multifaceted and much encompassing. As the introduction explains, black post-blackness is an aesthetics of expressions of free self-determination, of a future blackness that shapes the present still. It is a mood and a shape of time, and also an understanding of that cultural mood and temporal shape as interdependent and in flux.  More concretely, Black Post-Blackness seeks to correct reductive constructions that situate twenty-first-century art and literature by artists and writers such as Glenn Ligon, Claudia Rankine, Kerry James Marshall, and… Full Review

Christopher Lakey’s book, Sculptural Seeing: Relief, Optics, and the Rise of Perspective in Medieval Italy, makes a bold if ultimately problematic argument: Lakey suggests that the origins of perspective in Renaissance art are to be found in medieval relief sculpture, that the Albertian system of perspective evolved from the practices and concepts of medieval stone sculptors beginning with the revival of architectural sculpture associated with Romanesque art, around 1100. The book’s argument, however, is like a thought experiment in which it is necessary to accept the hypothesis as a premise to sustain the conclusion. Lakey aims to prove that… Full Review

Chanchal B. Dadlani’s From Stone to Paper adds an exciting new chapter to a growing body of scholarship exploring the arts and architecture of Asia beyond the “canonical” limit of the seventeenth century by considering the 150 years of the “long eighteenth century,” which, in this case, connects the heyday of the Mughal empire with the advent of the British Raj. Monuments, urban spaces, building practices, and modes of theorizing and representing architecture are examined “on their own terms,” building a case for the primacy of internal forces in shaping the concept of a “Mughal style” in architecture. Crisp, engaging… Full Review

Consider two nineteenth-century paintings, made in the same year and same Europe, each alluding to a work by Titian. One is Édouard Manet’s Olympia (1863), a picture central to the modernist canon. With simplified brushwork and pared-down tonality, Manet transplants Titian’s Venus of Urbino (1538) into contemporary Paris. The painting, which ventures a commentary on modern life through its presentation of the Venus as a modern woman, works because of its bold departure from its source. At the same time across the channel, Dante Gabriel Rossetti was painting Fazio’s Mistress (1863), a very different sort of allusion to another work… Full Review

“Is there such a thing as ‘global Netherlandish art’?” is the ambitious question with which Netherlandish Art in Its Global Context opens (7). A cohesive model of early modern art of the northern and southern provinces of the Netherlands is elusive to begin with, and the dimensions and significance of the global have been the subject of discussion within the humanities for decades now. If the question that informs this volume is unanswerable, the attempt is nonetheless interesting. Netherlandish Art in Its Global Context offers a lively array of essays that should interest readers in early modern art history generally… Full Review

A Companion to Early Modern Rome brings together thirty new essays that together offer a fresh perspective on the politics, urbanism, art, and culture of Rome between 1492 and 1692. The volume is an outstanding summary of the state of research and a showcase for innovative work across a wide range of disciplines. Each essay presents a succinct and focused discussion, with an analysis of previous literature and a conclusion that outlines possibilities for future research. Contributions by several leading Italian scholars are presented in translation. Covering an admirably comprehensive range of topics, the chapters chart exciting prospects particularly for… Full Review

Genocide, that most horrific of crimes, does not leave untouched any fragment of human identity. Yet for genocide to succeed, it must not only extinguish individual human lives—it must erase all traces of the presence of a people, of a people’s identity. While we often focus on the human subject as victim of genocide, the vehemence with which cultural atrocities are perpetrated, and the chilling consistency with which they occur in tandem with the elimination of human lives, makes clear that art and material culture matters in the dismantling of what it means to be human. Long before Hitler… Full Review

These two recent studies of museological and display histories in/of South Asia stand out in the fields of both art history and museum studies. The rather intriguing title of Saloni Mathur and Kavita Singh’s edited volume, No Touching, No Spitting, No Praying, is taken from a signboard at the entrance to an Indian museum that gives the code of conduct to which visitors are expected to adhere. Assumedly, the sign is intended for “unsophisticated” viewers whose everyday worlds are not consonant with the social codes that the sign specifies. The reversal of this inconsonance is part and parcel of… Full Review

In the conclusion to Beyond the Pink Tide: Art and Political Undercurrents in the Americas, Macarena Gómez-Barris exhorts the reader to “look beyond electoral politics [of the nation-state] to strengthen already existing networks of possibility” (109). In this brief yet provocative study, she provides the reader with a model of analysis that shores up South-South linkages, privileges queer and indigenous perspectives, and denaturalizes national boundaries. Gómez-Barris champions the interdisciplinary field of “Transnational Americas Studies” rather than the post–Cold War area studies approach. In doing so, she allows the natural alliances and shared histories of the Americas to come to… Full Review

Art World City is a beautiful book. The photographs, most of which are by the author, are stunning, and all are in color thanks to support from the CAA Millard Meiss Publication Fund. In a book whose purpose is to situate a major international city and its artists into a complex and interdependent relationship, the quality of the images alone makes the argument for the symbiotic relationship between artists, the cityscape, and the visual consumption of culture in Dakar, Senegal. Each of the six chapters stands alone as a succinct inquiry into an aspect that author Joanna Grabski identifies on… Full Review