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In her microhistory of Yanhuitlan, a town in the rugged Mixteca Alta of Oaxaca, Mexico, Alessia Frassani complicates our understanding of the collaborative and enduring interchange of indigenous and European constituencies in New Spanish society. Although historians attempting to reconstruct the dynamics of an ancient, multiethnic community often discover that their evidence is random and scarce, the documentation of Yanhuitlan, in stone, wood, and paper, is fortuitously consistent. Exploiting this ample data, Frassani explores not only the built environment, primarily in Yanhuitlan’s impressive Dominican monastery (convento) and its still splendid interior, but also the relevant archival material, ranging… Full Review

Outliers and American Vanguard Art at the National Gallery of Art in Washington, DC, offers an ambitious study of the significance of self-taught art to the production of mainstream US American artists. The expansive exhibition presents more than 250 works by 84 artists and is organized around three historic periods that, argues its curator Lynne Cooke, saw a surge in formal support for objects made beyond the conventional bounds of the art world: 1924–43, 1968–92, and 1998–2013. Outliers and its accompanying catalogue present an original and compelling account of US American art, bringing together many rarely exhibited artworks in illuminating… Full Review

Gustave Kahn’s characterization of Symbolism as “the exteriorization of the Idea” is usually explained as the Symbolists privileging the imagination over a naturalistic art practice that reproduced the visible world. In Nature’s Experiments and the Search for Symbolist Form, Allison Morehead reorients this quotation and Symbolist art itself toward science, specifically the experimental method. One of the crucial arguments in Nature’s Experiments is that even as positivism was being widely critiqued at the end of the nineteenth century, experimental methodology was gaining authority as a mode with which to realize not only scientific truths, but also truths about the human… Full Review

The edited volume, as a scholarly format, has proliferated in recent years but is too seldom celebrated. Its demands—principally brevity when it comes to individual essays—and its overall capaciousness produce texts and experiences of discovery this reviewer cherishes. When it comes to the topic of sociability, moreover, there could scarcely be a more appropriate form of presentation. If all books are social—collaborations linking author, editor, copyeditor, indexer, designer, printer, and so on—multiauthored volumes seem explicitly sociable. Frequently emerging from conference panels or colloquia, they are traces and performances of conversation and of groups coming together around a common purpose, to… Full Review

And then there was color. In short, this is the theme of Laura Kalba’s fascinating study, Color in the Age of Impressionism: Commerce, Technology, and Art, which chronicles the explosion of vivid (and often artificial) colors in everyday life in late nineteenth-century France. Explaining the science and technology behind the making of both new as well as more saturated traditional colors, the book traces the many experiential and epistemic shifts that attended consumers’ willing acceptance of a more colorful environment. In the process, the book shows that our modern assumptions surrounding color—including its vibrancy and ubiquity in daily life—owe… Full Review

Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century’s Most Photographed American has already received admiring reviews in the New York Times, Washington Post, New Yorker, and New Republic among other media outlets. The 2015 book by John Stauffer, Zoe Trodd, and Celeste-Marie Bernier is worth returning to here for what it offers specifically to artists and art historians. Pulling together extensive images of and writings by Frederick Douglass, many never before published, Picturing Frederick Douglass is a treasure trove for several fields, including photography history and practice, art histories of the African diaspora, and histories of American… Full Review

Jonathan Alexander became aware of the lack of a survey in English of Italian Renaissance illumination while preparing the groundbreaking exhibition The Painted Page: Italian Renaissance Book Illumination 1450–1550, held in London and New York in 1994–95 (exh. cat., 1994). He took up the challenge equipped not only with a profound knowledge of painting in Italian books, but also an extraordinary background in manuscript studies. He has published essential monographs and catalogues on art and manuscripts of the ninth through sixteenth centuries from many areas of Europe and brings to this survey his experience in addressing a myriad critical issues… Full Review

Soul of a Nation: Art in the Age of Black Power offers an expansive view of the depth and breadth of American art in the heady, dizzying years of black activism between 1963 and 1983. While the book accompanies the exhibition of the same name, it is less of an exhibition catalogue and more of a compendium of micro histories, essays, reflections, images, and memories of one of the most dynamic periods in the history of American art. A period when the politics of blackness drove a new generation of artists and spawned a flourish of creative advances, artistic alliances… Full Review

Two art students get fed up with their teachers, hang together, and start making art on their own. They quit school, move to a hipper city, change hairstyles, and form an art commune. One of the duo dies young, the other marries, and their followers drift away, settle down, go commercial, and generally become the next generation’s object of loathing. The story would be banal were it not so early in the history of art. Founded in Vienna on July 10, 1809, by its “master” Friedrich Overbeck and “priest” Franz Pforr, the Brotherhood of St. Luke—nicknamed the Nazarenes because of… Full Review

In her slim and concise “‘throat-clearing gesture’—the kind that introduces any inquiry with a series of queries and propositions that create an analytical space for thinking” (3), Tina Campt provides the theoretical accoutrements and methodologies necessary to contemplate what black refusal and resistance might sound like if we were to listen to images in addition to seeing them. A cogent combination of black feminist inquiry and diasporic visual culture, Listening to Images “reclaim[s] the photographic archives of precarious and dispossessed black subjects in the nineteenth, twentieth, and twenty-first centuries by attending to the quiet but resonant frequencies of images that… Full Review