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In 1910, Vienna’s recently founded Vereinigung bildender Künstlerinnen Österreichs opened its inaugural exhibition, aptly titled Die Kunst der Frau (The art of women; November 5, 1910–January 8, 1911). Erica Tietze-Conrat (1883–1958), Austria’s first woman with a PhD in art history, observed that this showcase of women’s art across the ages failed to advance contemporary women’s cause because it created a separate category of “feminine art” (weibliche Kunst) that was still measured against “masculine art” (männliche Kunst; “Die Kunst der Frau,” Zeitschrift für bildende Kunst 46, no. 22, 1911: 146). To a certain extent, this conundrum lies… Full Review

Reading Lateness, Peter Eisenman’s new book with Elisa Iturbe, causes a cascade of ideas from Eisenman’s fifty years of production to come to the surface. They arrive, in effect, late—in stages, de-sorted—and as Lateness suggests, “apart from time.” It is difficult to view the book in isolation, yet there is a very new quality to the work. The tangential aspect to time—lateness—is in itself novel in Eisenman’s work. It portends an eventual, delayed rather than negated reconciliation with the times. Not with a would-be zeitgeist, but still far from the resistance often attributed to earlier work by Eisenman. … Full Review

This book tracks the visual traces of a dialogue as conceived between two ethnicities—Han Chinese and Tibetan—and two modes of Buddhist Mahāyāna thought and practice, exoteric (such as Huayan) and Esoteric Buddhism, both operating in the Dunhuang region of eastern Central Asia (now in Gansu Province, China) in the eighth to tenth century. A series of “cultural negotiations” plays out in complex programs of murals on cave walls and ceilings through the incorporation of motifs associated with Esoteric Buddhism into a matrix that is, according to the author, focused on repentance rituals and reverence for bodhisattvas. The book presents an… Full Review

The goal of this well-rounded edited collection is to bring new scholarship on Rome’s remarkable early modern chapels to a “wider public” (5), in line with the mission of the Fondo Edifici di Culto (FEC) of the Ministry of the Interior of Italy. Happily, FEC sponsorship allowed for new high-quality photographs to produce a richly illustrated book. The volume comprises an introduction and nine essays in English by Italian and American scholars. Each essay carefully lays out the scholarly apparatus of construction dates, vicissitudes of patronage, and issues of attribution. Most of the essays offer previously unpublished archival… Full Review

In January 1823, a month before he was named the first president of the Republic of Peru, José de la Riva Agüero asked the city council of Lima to remove the portrait of Viceroy José Fernando de Abascal y Sousa (r. 1806–16) from their chambers and contribute it to a nascent national collection of portraits. The councilors, however, could not comply with the request. The Lima-based artist Mariano Carrillo had painted his portrait of José de San Martín, the general who had declared Peru’s independence in 1821, over the image of Viceroy Abascal. As Emily Engel shows, however, not all… Full Review

The story of design history, like that of art history, has often revolved around a series of important philosophies and innovations that are associated with prominent male figures. In Women in Design, Charlotte Fiell and Clementine Fiell have provided a valuable resource, a welcome addition to the literature of design history, filling in some of the gaps in the accepted narrative of the field by highlighting the role of women designers. Although the names of many of the designers covered in the book will be familiar to scholars, the details of their accomplishments and inventions and their roles within… Full Review

In American English, “fancy” has come to indicate upscale and expensive, undercut by a sense of the pretentious, staged, and overblown. British English keeps closer to meanings employed during the eighteenth-century heyday of the word: as an adjective, to describe art, clothing, or goods inspired by an active, sometimes idiosyncratic imagination; or, as a verb, to express liking someone or something, literally to envision the object of desire within one’s own projected fantasies. In her deft introduction to this slippery term for the volume Fancy in Eighteenth-Century European Visual Culture, coeditor Melissa Percival describes “an aesthetics of fancy—a dynamic… Full Review

This new selection of Carl Einstein’s critical and art historical writing, edited and translated by Charles W. Haxthausen, greatly expands the ability of anglophone scholars to grapple with one of the most consequential chroniclers of the avant-garde’s heroic years. Of the fourteen texts Haxthausen has selected for this volume, eleven are translated into English for the first time. They represent Einstein’s published books through successive revisions; reviews and topical articles on art, artists, museums, and purely conceptual matters; personal correspondence, where it bears upon such matters; and posthumously published manuscript material. Einstein is an intensely ruminative, ferociously critical writer whose… Full Review

By the mid-twentieth century, designers were no longer autonomous creators of autonomous objects. Through experimentation with film and multimedia and by transcending disciplinary boundaries, they became “manager[s] of epochal change” (11) in the technoscientific and social environments of the postwar world. Happiness by Design: Modernism and Media in the Eames Era presents a history of midcentury media practice, pedagogy, and administration, looked at through the lens of the multimedia experiments of designer couple Charles and Ray Eames and their designing, filming, and knowledge-producing contemporaries. In their work, happiness was a mode of production that built toward a democratic life. Instead… Full Review

(Click here to view the online multimedia publication.) A bare stage; a single microphone. Concentrated applause, and then a young Anthony Braxton (blue cardigan, saxophone in hand) walks into the frame and takes center stage at the Walker Art Center’s 1980 New Music America Festival in Minneapolis. Leaning close to the mic, he opens his set with a circular motif, repeated and varied, varied and expanded, all the way to a first cadence marked by a slow, resonant vibrato. This twenty-seven-minute performance video, previously consigned to the back room of the Walker’s archive and library, is now available… Full Review