Recently Published Reviews

Rembrandt’s First Masterpiece offered visitors a rare opportunity to engage with Rembrandt’s painted Judas Returning the Thirty Pieces of Silver (1629) and the three surviving sheets of preparatory drawings associated with it. The exhibition marked the first time that the painting, long held in an English private collection and, as the exhibition’s title suggested, regarded as a decisive work for the artist’s subsequent development, was shown in the United States. For context, the show included alongside the painting and preparatory drawings a wide array of some three dozen prints and drawings, many from the Morgan’s own inimitable collection, as well… Full Review

Puerto Rican Light (Cueva Vientos), a site-specific installation created by Jennifer Allora and Guillermo Calzadilla, is a post-colonial inversion and commentary on the complicated state of U.S.-Puerto Rican relations. This iteration of what appears to be an ongoing project also develops one of their consistent themes: light as illumination, energy, and power. Dan Flavin’s iconic Minimalist, fluorescent-light sculpture Puerto Rican Light (to Jeanie Blake) made in 1965 was originally used by Allora and Calzadilla as part of a 2003 exhibition at the Americas Society. In their earlier version, a solar-energy battery bank charged by the sun in Puerto Rico… Full Review

The architecture of shrines has been neglected in Islamic architecture scholarship until recently. Among others, Kishwar Rizvi and John Curry have demonstrated how architectural patronage and the writing of hagiographies are intricate political acts and deserve a common analysis (Kishwar Rizvi, The Safavid Dynastic Shrine: Architecture, Religion and Power in Early Modern Iran, London: I.B. Tauris, 2011; and John J. Curry, The Transformation of Muslim Mystical Thought in the Ottoman Empire: The Rise of the Halveti Order, 1350–1650, Edinburgh: Edinburgh University Press, 2010). Zeynep Yürekli successfully utilizes and furthers this methodology in Architecture and Hagiography in the Ottoman… Full Review

Robert DeCaroli’s book bears the title Image Problems. But I read the text as Image Answers, for DeCaroli provides some remarkable insights into the conception and production of images by mining textual sources, both Buddhist and Brahmanical, in enormously impressive ways. For almost as long as the history of South Asian art has been studied, the question of when and where the Buddha image was first created—invented, some even might say—has been central. Given the long history of image worship, if that is the right way of phrasing it, in the West, the assumption has been that this innovation… Full Review

The titles of these two books aptly indicate the ambiguity that has always plagued any attempt to classify the work of Charles Francis Annesley Voysey (1857–1941). Is he the modernist architect who advocated concrete construction, the machine, and eschewed ornamented surfaces, or is he the artisan architect who upheld the teachings of Augustus Welby Northmore Pugin and John Ruskin, followed Gothic principles, and produced scores of ornamental designs for furniture, wallpaper, and textiles? Nikolaus Pevsner attempted to synthesize these currents in Voysey’s work by including him in his landmark Pioneers of the Modern Movement (London: Faber and Faber, 1936). There… Full Review

Patricia Blessing’s Rebuilding Anatolia after the Mongol Conquest: Islamic Architecture in the Lands of Rūm, 1240–1330 seeks to place the monuments within their immediate social and political landscape. Departing from previous approaches to the subject that have stressed continuities with architectural traditions of the prior Seljuk and later Ottoman period, Blessing instead emphasizes the local circumstances in which the monuments were produced. She considers how building forms and decoration were shaped by the particular circumstances of each patron, as well as by the rich and diverse architecture of prior Seljuk Anatolia, Ilkhanid Iran, and the medieval South Caucasus. Fundamentally, Blessing… Full Review

Anri Sala: Answer Me, organized by the New Museum’s artistic director Massimiliano Gioni and associate curators Margot Norton and Natalie Bell, is the artist’s first comprehensive survey exhibition in the United States. Sala (b. 1974) is an Albanian artist who lives and works in Berlin and uses primarily video to investigate the underlying structure of music and sound. Many of his works deal with emotional histories of architectural spaces as told by live and recorded musical performances. Answer Me fills three floors of the museum and is organized thematically—a minimalistic and technologically sophisticated presentation on the fourth floor;… Full Review

Exhibitions of architecture have recently moved from the margins to the center of architectural history and theory. This shift reflects a greater tendency in scholarship to focus less on individual buildings and more on issues such as the institutional structures that underpin architectural practice, theoretical discourse and its dissemination, as well as architecture’s relationship to its publics and to mass media. These three themes provide the structure for the edited volume Place and Displacement: Exhibiting Architecture, which collects fifteen essays grouped in three sections entitled “Discourse,” “Institutions,” and “Circulation.” The volume contains the contributions to a 2013… Full Review

Anyone who cares about the representation of night in the modern era will want to have this beautiful book for the images alone, and anyone who can read French will profit from the strong analysis of nocturnal art and politics. Hélène Valance has written a much-needed history of how image makers reacted to the ways in which the American night was lit, exploited, and commercialized from the turn of the twentieth century until the U.S. entry into World War I—between the “closing” of the frontier and the new American presence on an international stage. The prewar night was a battleground… Full Review

Author’s note: When writing this review last summer, I could not foresee that it would be published just as depictions of anti-black violence in the Whitney Biennial were provoking international debate. These urgent conversations evoke the politics of race, representation, and privilege that animate Susan E. Cahan’s Mounting Frustration: The Art Museum in the Age of Black Power and underscore the value of recovering this underexamined history. This month, July 2016, police officers shot Alton B. Sperling and Philando Castile, both African American, at point-blank range on successive days. Then a sniper used a peaceful #BlackLivesMatter protest in… Full Review

Although the aim of this volume is to show “the influence and guidance” (xxi) of the late French scholar Anne Prache, its thirteen studies do more. They honor the Sorbonne professor’s rich contributions to medieval art and architecture by embodying medieval memoria, or the art of memory as defined by Mary Carruthers’s magisterial works on the subject—“a memory architecture and a library built up during one’s lifetime with the express intention that it be used inventively” (Mary Carruthers, The Craft of Thought: Meditation, Rhetoric, and the Making of Images, 400–1200, Cambridge, UK: Cambridge University Press, 2000, 4, emphasis… Full Review

Martin Bressani’s Architecture and the Historical Imagination brings psychological unity to the life and work of Eugène-Emmanuel Viollet-le-Duc, the nineteenth-century French architect, restorer, and theorist whose numerous and diverse activities continue to enthrall and perplex historians. In the groundbreaking 1980 catalogue of an exhibition at the Grand Palais in Paris commemorating the centenary of Viollet-le-Duc’s death, Bruno Foucart (who supervised Bressani’s 1997 dissertation) argued that the “paradox of Viollet-le-Duc” is that he was both “delirious and rational” (“Viollet-le-Duc, cent ans après,” in Bruno Foucart, ed., Viollet-le-Duc, Paris: Éditions de la Réunion des musées nationaux, 14). Contradictions like this are… Full Review

Making and Moving Sculpture in Early Modern Italy addresses important issues concerning the material and economic history of sculpture, and explores the ways in which mobility, physicality, materiality, collaborations, costs of materials, and technologies had an impact on how the works were conceived and made by their authors and perceived by the public. As editor Kelley Helmstutler Di Dio articulates in the introduction, “practical issues as durability and modes of transport were of enormous importance” (1), and artists had to deal with the limitations of materials and scale, often taking such issues into account while making formal and stylistic choices. … Full Review

Netherlandish art was a standard feature of art collections large and small throughout early modern Europe, and many masters from the Low Countries took their techniques, styles, and themes abroad. Historians have acknowledged this international dimension, from Horst Gerson’s monumental Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts (Amsterdam: Israël, 1942) to the 2013 volume of the Netherlands Yearbook for History of Art (Leiden: Brill) devoted to migration. Two new books offer welcome nuances to an understanding of the movement of artists, artworks, and their viewers. Gerrit Verhoeven’s Europe within Reach: Netherlandish Travellers on the Grand Tour… Full Review

Ancient images produced in contexts from which no written records survive present a formidable challenge to iconographers. Vernon James Knight Jr. argues that studies of such imagery are particularly vulnerable to specious claims based on intuition and superficial analysis, a problem he addresses in Iconographic Method in New World Prehistory. In response to what he describes as a lack of methodological rigor in “a field of study that is still in search of academic respectability” (xiv), Knight proposes a method for iconographic analysis consisting of seven ordered and discrete phases that is a synthesis of what he deems to… Full Review