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Craig Clunas’s Screen of Kings: Royal Art and Power in Ming China is a new landmark in the study of the history of the visual and material culture of China’s Ming dynasty (1368–1644), succeeding his five earlier and equally important monographs on the arts and culture of this period, including Pictures and Visuality in Early Modern China (Princeton: Princeton University Press, 1997) (click here for review) and Elegant Debts: The Social Art of Wen Zhengming (Honolulu: University of Hawai’i Press, 2003) (click here for review). Screen of Kings provides a revisionist view of the role of… Full Review

Jacques Derrida loved the word “observe.” He paid special attention to its root word, “serve” (in French: server), which tied observation to respect, service, and deference. To observe something, he thought, was an act of humility. You gave yourself over to the details, gathering data and storing it in reserve for the future (Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas, Chicago: University of Chicago Press, 1993, 23). Stan Douglas uses lens-based media to facilitate this kind of servitude to details. I mention Derrida not to overemphasize the theoretical… Full Review

Lindsay J. Twa’s Visualizing Haiti in U.S. Culture, 1910–1950 offers the most thorough examination yet written of Haiti’s representation in visual media that circulated in the United States in the first half of the twentieth century. Twa’s monograph dexterously spans many disciplines to survey cultural production as diverse as Aaron Douglas’s illustration and painting, Katherine Dunham’s choreography and dance, Alexander King’s photojournalism and illustration, Paul Robeson’s acting, Maya Deren’s filmmaking, and William Edouard Scott’s painting (to name only a few of the central subjects here). Indeed Visualizing Haiti blends approaches inspired by work in the field of Postcolonial Cultural Studies… Full Review

Living with the Royal Academy: Artistic Ideals and Experiences in England consists of papers first delivered at a conference at the University of York in 2008. It is presented as a “companion volume” to Art on the Line: The Royal Academy Exhibitions at Somerset House, 1780–1836, David H. Solkin’s exhibition and edited book (New Haven: Yale University Press for the Paul Mellon Centre for Studies in British Art and the Courtauld Institute Gallery, 2001), which so memorably reconstructed the Royal Academy’s exhibitions at Somerset House between 1780 and 1836. More generally, the present volume builds on a now substantial… Full Review

Curated by Massimiliano Gioni at the New Museum in New York City, Chris Ofili: Night and Day was the title of the first retrospective of the contemporary British artist’s paintings, drawings, and sculptures to be shown in the United States. The accompanying exhibition catalogue’s visual and textual narratives provide a loosely chronological survey of Ofili’s most celebrated artworks, with each contributor highlighting particular influences and experiences in the artist’s life that have served as catalysts for his creative expression. These include: “Lush Life,” Gioni’s scene-setting introduction and curatorial contextualization; “Inspired by Ovid,” National Gallery of London curator Minna Moore Ede’s… Full Review

Originally conceived in 1960 by French U.S.-based philanthropists Dominique and John de Menil, The Image of the Black in Western Art was “prompted” by what one of the project's patrons, Dominique de Menil, described as “an intolerable situation: segregation as it still existed in spite of having been outlawed by the Supreme Court in 1954” (Dominique de Menil, “Acknowledgements and Perspectives,” The Image of the Black in Western Art. Volume 1: From the Pharaohs to the Fall of the Roman Empire, Fribourg, Switzerland: Office Du Livre, 1976, ix). Within the volatile social and racial politics of the 1960s and… Full Review

In Leon Battista Alberti and Nicholas Cusanus: Towards an Epistemology of Vision for Italian Renaissance Art and Culture, Charles H. Carman argues against viewing Renaissance painting as a secular mode of representing material reality, one divorced from spiritual, religious, and theological worldviews. According to Carman, Renaissance culture was produced and consumed by people more religious and interested in theology than many contemporary scholars will admit. Naturalistic painting in the Renaissance, with its single-point perspective, was not about denying the invisible meanings behind observable reality. Instead, it was a way to represent divine ontology as well as enable spectators to… Full Review

Yves Pauwels quotes Victor Hugo in the subtitle of L’Architecture et le livre en France à la Renaissance: “Une magnifique décadence”? Hugo formulates the study’s question about the origin of architectural variation during the French Renaissance, specifically in the orders: the classical styles of architecture traditionally defined as Doric, Ionic, Corinthian, Tuscan, and Composite. Pauwels expands earlier essays to explore the diffusion of architectural treatises in sixteenth-century France as indispensable: first in mastering Vitruvius’s orders and, later, as a medium for creation. Pauwels’s book contributes to a growing body of scholarship on Renaissance architectural theory and treatises. If his argument… Full Review

The British interest in Claude Lorrain began during the artist’s lifetime. In 1644, an unidentified Englishman commissioned two of Claude’s landscapes: Landscape with Narcissus and Echo and A Temple of Bacchus (Humphrey Wine, National Gallery Catalogues: The Seventeenth Century French Paintings, London: National Gallery, 2001, 88). By the beginning of the nineteenth century Claude had assumed an unassailable position, described by John Constable as “the most perfect landscape painter the world ever saw” (R. B. Beckett, ed., John Constable’s Discourses, Ipswich: Suffolk Records Society, 1970, 52). The influence of Claude on British art has perhaps not surprisingly generated… Full Review

In 1970, Nicholas Negroponte dedicated his book about computer- and robot-aided design “To the first machine that can appreciate the gesture” (The Architecture Machine: Toward a More Human Environment, Cambridge, MA: MIT Press, 1973, front matter). The book, a seminal collection of experiments and observations from the Massachusetts Institute of Technology Media Lab, is a primary document in the history of the digitalization of architecture from a moment when clear distinctions between hardware and software had yet to be established. The role of “machines” (including computer programs, projective screens, and mechanical arms) in architectural culture was urgently felt… Full Review