CAA News Today

Atreyee Gupta reviews No Touching, No Spitting, No Praying: The Museum in South Asia, edited by Saloni Mathur and Kavita Singh, alongside Displaying Time: The Many Temporalities of the Festival of India by Rebecca M. Brown. Read the full review at caa.reviews.

Stephennie Mulder writes about Heghnar Zeitlian Watenpaugh’s volume The Missing Pages: The Modern Life of a Medieval Manuscript, from Genocide to Justice. Read the full review at caa.reviews.

Elizabeth Berkowitz considers Hilma af Klint: Paintings for the Future, formerly on view at the Solomon R. Guggenheim Museum. Read the full review at caa.reviews.

Juliette Milbach discusses the Tate Britain exhibition Aftermath: Art in the Wake of World War One. Read the full review at caa.reviews.

Susan Kart considers Art World City: The Creative Economy of Artists and Urban Life in Dakar by Joanna Grabski. Read the full review at caa.reviews.

Ila Sheren discusses the book Beyond the Pink Tide: Art and Political Undercurrents in the Americas by Macarena Gómez-Barris. Read the full review at caa.reviews.

Fred Rush discusses Chalk: The Art and Erasure of Cy Twombly by Joshua Rivkin. Read the full review at caa.reviews.

Elizabeth Perrill reviews the catalog and exhibition Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa in its showing at Northwestern University’s Block Museum of Art. Read the full review at caa.reviews.

Anne N. Feng writes about Dorothy C. Wong’s volume Buddhist Pilgrim-Monks as Agents of Cultural and Artistic Transmission: The International Buddhist Art Style in East Asia, ca. 645–770. Read the full review at caa.reviews.

caa.reviews highlights an in-depth multimedia project from its archives, by former editor-in-chief Sheryl E. Reiss, on the monumental exhibition Bernini: Sculpting in Clay. Explore the interactive project through the link at caa.reviews.

Marian Bleeke reviews Mariah Proctor-Tiffany’s book Medieval Art in Motion: The Inventory and Gift Giving of Queen Clémence de Hongrie. Read the full review at caa.reviews.

Amy Golahny writes about the exhibition De Wind Is Op! Climate, Culture and Innovation in Dutch Maritime Painting, currently on view at the New Bedford Whaling Museum in Massachusetts. Read the full review at caa.reviews.

Caroline Boyle-Turner discusses Gauguin’s Challenge: New Perspectives after Postmodernism, edited by Norma Broude. Read the full review at caa.reviews.

Emmelyn Butterfield-Rosen writes about Looking at Men: Art, Anatomy and the Modern Male Body by Anthea Callen. Read the full review at caa.reviews.

Dina Ramadan reviews Art, Awakening, and Modernity in the Middle East: The Arab Nude, edited by Octavian Esanu. Read the full review at caa.reviews.

Hannah Slater covers Asato Ikeda’s book The Politics of Painting: Fascism and Japanese Art during the Second World War. Read the full review at caa.reviews.

Sarah Hollenberg reviews The Wall of Respect: Public Art and Black Liberation in 1960s Chicago, edited by Abdul Alkalimat, Romi Crawford, and Rebecca Zorach. Read the full review at caa.reviews.

Kristin Romberg discusses Tijana Vujošević’s book Modernism and the Making of the Soviet New Man. Read the full review at caa.reviews.

Risham Majeed writes about the exhibition Agents of Faith: Votive Objects in Time and Place, curated by Ittai Weinryb. Read the full review at caa.reviews.

Rattanamol Singh Johal considers the book Productive Failure: Writing Queer Transnational South Asian Art Histories by Alpesh Kantilal Patel. Read the full review at caa.reviews.

Ian Bourland discusses Stick to the Skin: African American and Black British Art, 1965–2015 by Celeste-Marie Bernier. Read the full review at caa.reviews.

Sugata Ray reviews Rembrandt and the Inspiration of India, edited and curated by Stephanie Schrader. Read the full review at caa.reviews.

Rebecca Giordano reviews Study in Black and White: Photography, Race, Humor by Tanya Sheehan. Read the full review at caa.reviews.

Yelena McLane discusses Tom Cubbin’s Soviet Critical Design: Senezh Studio and the Communist Surround. Read the full review at caa.reviews.

Mirela Tanta writes about the exhibition Maria Lassnig: Woman Power at the Palazzo Pitti, Florence. Read the full review at caa.reviews.

Jessy Bell considers the exhibition and catalog Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980, edited by Martino Stierli and Vladimir Kulić. Read the full review at caa.reviews.

Didier Aubert commemorates the life and work of François Brunet, and reviews Brunet’s book La photographie: Histoire et contre-histoire. Read the full review at caa.reviews.

Matthew Bent discusses the exhibition Past Disquiet: Artists, International Solidarity and Museums in Exile, curated by Kristine Khouri and Rasha Salti. Read the full review at caa.reviews.

Kimberly Cleveland considers Henry Glassie and Pravina Shukla’s Sacred Art: Catholic Saints and Candomblé Gods in Modern Brazil. Read the full review at caa.reviews.

Deborah Ziska writes about Lonnie G. Bunch III’s forthcoming book, A Fool’s Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump. Read the full review at caa.reviews. 

Barbara Wisch reviews Flagellant Confraternities and Italian Art, 1260–1610: Ritual and Experience by Andrew H. Chen. Read the full review at caa.reviews.

Christine Kooi discusses Henk van Nierop’s The Life of Romeyn de Hooghe 1645–1708: Prints, Pamphlets, and Politics in the Dutch Golden Age. Read the full review at caa.reviews.