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“The narrative of this exhibition is a journey that sheds new light and permits new reflections on what has come to be oversimplified in the figures of ‘The Big Three’—Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros—and in the ubiquitous phenomenon of Frida Kahlo” (20), writes Agustín Arteaga, the newly appointed Eugene McDermott Director of the Dallas Museum of Art (DMA). In his introductory essay for the México 1900–1950 catalogue, Arteaga emphasizes how the exhibition—featuring more than two hundred works in a range of media including prints, paintings, drawings, and film—challenges the notion that the artistic repertory… Full Review

A book-length scholarly work on architecture on the African continent is so rare that a new publication is cause for celebration in the small community of scholars who study this topic. Michelle Apotsos’s in-depth, diachronic study of architecture in the Islamic community of Larabanga in northern Ghana fits the bill. The book accomplishes multiple tasks. It reconstructs the history of Larabanga as a seat of Islam in the West African savanna—including the history of its dominant ethnic group, the Kamara—and traces the simultaneous emergence of an architectural idiom that embodied the town’s unique identity. In the process, Apotsos also writes… Full Review

Robert Mills’s Seeing Sodomy in the Middle Ages is a brave and important book that future studies of sexuality and gender will need to contend with. Through attentive analyses of diverse texts and images, Mills destabilizes a variety of givens and orthodoxies, both medieval and modern. Seeing Sodomy enters the politically charged debates swirling around issues of social constructionism and essentialism—especially as linked to Michel Foucault’s conclusion in his influential History of Sexuality that in the Middle Ages sodomy was an “utterly confused” “category of forbidden acts” that did not admit the more modern notion of sexual orientation. Thus, while… Full Review

The making of this book extended over twenty years. The full story of the precious works of art it explores will perhaps be told one day. What we gather from the foreword by the editor (who also wrote most of the text) is that from the beginning the book was intended to reach the uninitiated public and not aimed at a restricted club of specialists. The result, now on our tables, is spectacular. Princeton University Press, under the directorship of Dr. Brigitta van Rheinberg, permitted the scholars to rely on 278 color reproductions, some of them never seen before in… Full Review

On the heels of the recent publication of their books Otherwise: Imagining Queer Feminist Art Histories and Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, Amelia Jones and David Getsy initiated a conversation about these books and the current state of and future directions for art history’s engagements with gender and sexuality.[i] The following dialogue was conducted by email over the course of the summer and fall of 2017, and it is presented by caa.reviews as part of its commitment to engage with new ideas in art-historical and art-critical writing. Amelia Jones: Perhaps we could start… Full Review

Glenn Parsons, an associate professor of philosophy at Ryerson University in Toronto, has managed a very difficult task: he has written a solid philosophy book about design that is firmly grounded in design and the problems of designers. Parsons’s introduction stakes out his goal—“showing that design is a realm worthy of philosophical exploration in its own right” (3)—but his book, in contrast to much of what is labeled “design philosophy,” is about design as analyzed by a philosopher rather than philosophy imposed on the subject of design. It is this grounding that makes it a useful book for design students… Full Review

The title to the exhibition Art and Nature in the Middle Ages at the Dallas Museum of Art appeared in large gilded letters set upon a forest-green wall and framed by a lush foliate border similar to those gracing late-medieval manuscripts. The glittering composition signaled that something beautiful waited around the corner. A small creature, outlined in gold and similarly lifted from lively Gothic illuminations, playfully peeked from a lower corner of the same wall, imparting a lighthearted sensibility. Both impressions held true for this collection of largely Romanesque and Gothic objects from the Musée de Cluny–Musée National du Moyen… Full Review

The Los Angeles Public Library’s Central Library building (1924–33) in the city’s downtown has long been hemmed in by high-rise buildings. Their bland commercial anonymity makes it hard not to regard the library as the beloved elderly neighborhood dandy—one you feel sure could tell you some terrific stories about the old days. Kenneth A. Breisch’s beautiful new monograph aims to let the building do just that. It leads us first through the twists and turns that preceded the building’s construction and then through the political wrangling that accompanied its financing and even its design, its germination from idea to blueprint… Full Review

In her book Painting the Gospel: Black Public Art and Religion in Chicago, Kymberly N. Pinder uses religious imagery affiliated with black churches in the Bronzeville neighborhood of Chicago’s South Side as a case study to explore the ways that African American artists and pastors have collaborated to insist upon self-representation of and for their congregations. This short book manages to be very narrow and specific in its discussion of a handful of churches in one of Chicago’s traditionally black neighborhoods and simultaneously massive in scope as it traces the neighborhood’s religious-art production over the course of the twentieth… Full Review

Recently, I chaperoned some undergraduates visiting the Cleveland Museum of Art. As I was admiring the Jonah Marbles, a student rushed up in excitement, eager to tell me about an extraordinary work of embroidery. I followed her and immediately recognized it as a piece of white work from Altenberg an der Lahn. Thanks to Stefanie Seeberg’s excellent discussion of this and similar works in her Textile Bildwerke im Kirchenraum: Leinenstickereien im Kontext mittelalterlicher Raumausstattungen aus dem Prämonstratenserinnenkloster Altenberg/Lahn, I could explain that such textiles were not made to be white-on-white embroideries—but that they originally featured outlining in contrasting colors… Full Review