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Some of the most inspiring contributions to the study of early modern art have been made by scholars not trained as art historians and not institutionally working in that discipline. Marc Fumaroli and Leo Bersani, to name but two examples, could not be more different in mindset, intellectual context, or political perspective, but both are literary historians who formulated profound, groundbreaking insights on the art of, respectively, Guido Reni and Michelangelo Merisi, also known as Caravaggio. Turf wars, and claims that one has to be an art historian in order to meaningfully talk about the visual arts, are, needless to… Full Review

Even readers unfamiliar with scholarship on the history of astronomy will quickly recognize Omar W. Nasim’s rich contributions to the field. Observing by Hands: Sketching the Nebulae in the Nineteenth Century convincingly articulates how pencil and paper paralleled the telescope as tools for astronomical observation. That astronomers’ routine paperwork has remained obscure to historians should come as no surprise. Private, unpublished notebooks often appear unintelligible, riddled with seemingly idiosyncratic information. Nasim masterfully proves this to be a misconception. The seemingly most monotonous behaviors necessitated by observational programs can yield, as Nasim shows, important information about conceptions of knowledge production and… Full Review

In Collective Situations: Readings in Contemporary Latin American Art, 1995–2010, editors Bill Kelley Jr. and Grant H. Kester bring together twenty-two texts that show artists carving out spaces for social action where others playing more conventional roles have failed. Art’s imaginative capacity, more than anything else, enables them to do this. But, as the documents in their enormously compelling and useful anthology demonstrate, art’s successes in affecting social and political change are often incomplete and almost always difficult to measure. Even so, the documents they gather attest to the power of art to create freedom and possibility within the… Full Review

What flight of fancy, delusion of grandeur, or insidious demonic force could tempt a contemporary author to write yet another book on Michelangelo (1475–1564)? The depth of Michelangelo’s genius has elicited sustained inquiry in modern art historical research for well over a century. One may ask, is there anything left to see or say? Bernadine Barnes’s new book entitled Michelangelo and the Viewer in His Time yields the answer yes on both counts. This book is not only worth reading, it has the necessary ingredients to remind contemporary Michelangelo scholars of a desirable style of writing and research that places… Full Review

Marking the centenary of the Russian Revolution, 2017 was a year rife with crises and controversies that cast 1917’s legacy as both strikingly familiar and impossibly remote. Alongside a rising tide of authoritarianism and Russia again donning the mantle of American adversary (with the charges led this time not by red-baiting conservatives, but by Democrats and liberal pundits seeking to remedy an election gone terribly wrong), alongside the ongoing fight for women’s rights and civil rights, for equal pay and a living wage, the twentieth century hardly seems to have come and gone, its passage marked instead by a return… Full Review

Marcus Milwright’s Islamic Arts and Crafts: An Anthology stakes an implicit—and sometimes explicit—claim for the place of objects and their production in the eastern Mediterranean and the larger Iranian world. Following the author’s work on a related topic, An Introduction to Islamic Archaeology (2010), it illustrates his mastery of written sources as well as the diverse materials, processes, and objects they discuss. With substantial scholarly apparatus in the form of notes, bibliography, index, and appendix, it will help shape the growing field of Islamic material culture as well as that of Islamic art. Milwright, in the introduction, makes clear the… Full Review

The exhibition Art in the Age of the Internet, 1989 to Today at the Institute of Contemporary Art/Boston (ICA/Boston) helped to contextualize the history of the internet’s development in light of how it is shaping our interconnected present and, as a consequence, contemporary art practices. Importantly, the exhibition revolved around the concept that the internet is a cultural product. Such a concept is a fundamental step toward departing from the assumption that technological progress is neutral. The exhibition reflected on the fact that the internet has permeated other artistic practices. As consequence, not only new media art is… Full Review

What to do with a retired emperor? Soon after Emperor Akihito announced his intention to abdicate in April 2019, this question captured headlines across Japan. Not merely a response to the unusual circumstances—the last imperial retirement occurred in 1817—the inquiry was advanced as part of a bold appeal: so that he not overshadow his successor, Akihito should leave Tokyo for Kyoto. The proposal was perhaps the most ambitious of many made by Kyoto political groups in recent years to reclaim from Tokyo cultural, political, and economic institutions taken over the course of centuries. The campaign is unlikely to succeed, but… Full Review

The stairwell leading down to the Museum of Contemporary Art Denver’s (MCA) first floor simulates the visual experience of a New York City subway. The walls are lined with DIY graffiti, written in a variety of colors and styles, offering the passage as a prologue for its exhibition, Wall Writers: Graffiti in Its Innocence. Graffiti historian, urban anthropologist, and guest curator Robert Gastman exhaustively examines the history of the early graffiti scene in New York and Philadelphia. Beginning in 1967 as youth started to routinely make marks on the streets, the study sets out to illuminate the… Full Review

Performance art has become a hot topic of research in art history, and it has surged in popularity judging by the number of performance art classes, conferences, and performance studies departments in UK and US universities. This review will consist of appraising two texts that reckon with performance: Diana Taylor’s Performance (2016) and Jennifer Doyle’s Hold It Against Me: Difficulty and Emotion in Contemporary Art (2013). Taylor, a performance studies and Spanish professor, focuses strictly on performance art—specifically rethinking aspects of it; the field has been re-formed through new theories. On the other hand, Doyle, an English professor, focuses on… Full Review