CAA News Today

Tabitha Barber and Stacy Boldrick, eds. Art under Attack: Histories of British Iconoclasm (London: Tate Publishing, 2013).

Stacy Boldrick, Leslie Brubaker, and Richard Clay, eds. Striking Images: Iconoclasms Past and Present (Burlington, VT: Ashgate, 2013).

Amy Bryzgel. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980 (London: I. B. Tauris, 2013).

Steven Careau. Invention and Understanding: A Pedagogical Guide to Three Dimensions (Washington, DC: New Academia Publishing, 2013).

Andrew E. Hershberger, ed. Photographic Theory: An Historical Anthology (Boston: Wiley-Blackwell, 2014).

Hina Hirayama. “With Éclat”: The Boston Athenæum and the Origin of the Museum of Fine Arts, Boston (Boston: Boston Athenæum, 2013).

Rosina Neginsky. Salome: The Image of a Woman Who Never Was (Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2013).

Michele Zackheim. Last Train to Paris (New York: Europa Editions, 2014).

David S. Areford. The Art of Empathy: The Mother of Sorrows in Northern Renaissance Art and Devotion (London: D. Giles, 2013).

Kathryn Brown, ed. The Art Book Tradition in Twentieth-Century Europe (Burlington, VT: Ashgate, 2013).

Donna Gustafson and Susan Sidlauskas. Striking Resemblance: The Changing Art of Portraiture (New York: DelMonico/Prestel; New Brunswick, NJ: Zimmerli Art Museum, Rutgers University, 2014).

Marsha Meskimmon and Dorothy C. Rowe, eds. Women, the Arts, and Globalization: Eccentric Experience (Manchester, UK: Manchester University Press, 2013).

Griselda Pollock, ed. Visual Politics of Psychoanalysis: Art in Post-Traumatic Cultures (London: I. B. Tauris, 2013).

Perri Lee Roberts. The Material of Culture: Medals and Textiles from the Ulrich A. Middeldorf Collection (Athens: Georgia Museum of Art, University of Georgia, 2013).

Dorothy C. Rowe. After Dada: Marta Hegemann and the Cologne Avant-Garde (Manchester, UK: Manchester University Press, 2013).

Deanna Sirlin. She’s Got What It Takes: American Women Artists in Dialogue (Milan, Italy: Charta, 2013).

Rosanne Somerson and Mara Hermano, eds. The Art of Critical Making: Rhode Island School of Design on Creative Practice (Hoboken, NJ: Wiley, 2013).

Mónica Domínguez Torres. Military Ethos and Visual Culture in Post-Conquest Mexico (Burlington, VT: Ashgate, 2013).

Dennis Wardleworth. William Reid Dick, Sculptor (Burlington, VT: Ashgate, 2013).

Basile Baudez. Architecture et tradition académique au siècle des Lumières (Rennes, France: Presses universitaires de Rennes, 2013).

Ömür Harmanşah. Cities and the Shaping of Memory in the Ancient Near East (New York: Cambridge University Press, 2013).

Sarah Blake McHam. Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of the “Natural History” (New Haven: Yale University Press, 2013).

Elizabeth Valdez del Álamo. Palace of the Mind: The Cloister of Silos and Spanish Sculpture of the Twelfth Century (Turnhout, Belgium: Brepols, 2012).

Matthew Biro. Anselm Kiefer (New York: Phaidon, 2013).

Jane Block and Claude Sorgeloos, eds. Homage to Adrienne Fontainas: Passionate Pilgrim for the Arts (New York: Peter Lang, 2013).

Francesco Freddolini. Giovanni Baratta 1670–1747: Scultura e industria del marmo tra la Toscana e le corti d’Europa (Rome: L’Erma di Bretschneider, 2013).

Joni M. Hand. Women, Manuscripts, and Identity in Northern Europe, 1350–1550 (Burlington, VT: Ashgate, 2013).

Katie Grace McGowan, ed. Post-Industrial Complex (Detroit: Museum of Contemporary Art Detroit, 2013).

Anita Fiderer Moskowitz. Forging Authenticity: Giovanni Bastianini and the Neo-Renaissance in Nineteenth-Century Florence(Florence: Leo S. Olschki, 2013).

Richard Taws. The Politics of the Provisional: Art and Ephemera in Revolutionary France (University Park: Pennsylvania State University Press, 2013).

Xin Wu. Patricia Johanson and the Re-Invention of Public Environmental Art, 1958–2010 (Burlington, VT: Ashgate, 2013).

Dora Apel. War Culture and the Contest of Images (New Brunswick, NJ: Rutgers University Press, 2012).

Jonathan Fineberg. Alice Aycock: Drawings; Some Stories Are Worth Repeating (Southampton, NY: Parrish Art Museum, 2013).

Wayne Franits. The Paintings of Dirck van Baburen, ca. 1592/93–1624: Catalogue Raisonné (Philadelphia: John Benjamins, 2013).

Jennifer A. Greenhill. Playing It Straight: Art and Humor in the Gilded Age (Berkeley: University of California Press, 2012).

Ellen G. Landau. Mexico and American Modernism (New Haven, CT: Yale University Press, 2013).

William Marotti. Money, Trains, and Guillotines: Art and Revolution in 1960s Japan (Durham, NC: Duke University Press, 2013).

Julie Wosk. Breaking Frame: Technology, Art, and Design in the Nineteenth Century (New York: An Authors Guild Backinprint.com Edition, 2013).

Andrés Mario Zervigón. John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage (Chicago: University of Chicago Press, 2012).

Thea Burns. The Luminous Trace: Drawing and Writing in Metalpoint (London: Archetype Publications, 2012).

Michael Ann Holly. The Melancholy Art (Princeton, NJ: Princeton University Press, 2013).

Sharon Louden, ed. Living and Sustaining a Creative Life: Essays by 40 Working Artists (Bristol, UK: Intellect Books, 2013).

Joanne Pillsbury, ed. Past Presented: Archaeological Illustration and the Ancient Americas (Washington, DC: Dumbarton Oaks Research Library and Collection, 2012).

Anna K. Tuck-Scala. Andrea Vaccaro (Naples, 1604–1670): His Documented Life and Art (Naples, Italy: Paparo Edizioni, 2012).

Bridget Alsdorf. Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting (Princeton, NJ: Princeton University Press, 2012).

Billy X. Curmano. Futurism’s Bastard Son (Vienna: Mark Pezinger Verlag, 2012).

Jonathan Fineberg. A Troublesome Subject: The Art of Robert Arneson (Berkeley: University of California Press, 2013).

Andreas Marks. Genji’s World in Japanese Woodblock Prints (Leiden, the Netherlands: Hotei, 2012).

Andreas Marks with Margalit Monroe. Modern Twist: Contemporary Japanese Bamboo Art (Washington, DC: International Arts and Artists, 2012).

Natasha Seaman. The Religious Paintings of Hendrick ter Brugghen: Reinventing Christian Painting after the Reformation in Utrecht (Burlington, VT: Ashgate, 2012).

Ian Verstegen. A Realist Theory of Art History (New York: Routledge, 2013).

Jill Bennett. Practical Aesthetics: Events, Affects, and Art after 9/11 (London: I. B. Tauris, 2012).

Michele Brody and the World Tea Company. Reflections in Tea: World Tea Stories (New York: Magcloud, 2012).

Rachel Epp Buller, ed. Reconciling Art and Mothering (Burlington, VT: Ashgate, 2012).

Julie Codell, ed. Power and Resistance: The Delhi Coronation Durbars (Ahmadabad, India: Mapin Publishing, 2012).

David Getsy, ed. Scott Burton: Collected Writings on Art and Performance, 1965–1975 (Chicago: Soberscove Press, 2012).

Bryan R. Just. Dancing into Dreams: Maya Vase Painting of the Ik’ Kingdom (Princeton, NJ: Princeton University Art Museum, 2012).

Patricia Karetzky. Femininity in Asian Women Artists’ Work from China, Korea, and USA:
If the Shoe Fits (London: KT Press, 2012).

Beth Lilly. the oracle @ wifi: Beth Lilly (Heidelberg, Germany: Kehrer Verlag, 2012).

Mike Mandel and Chantal Zakari. Multi-National Force: Iraq in Agatha Christie’s “They Came to Baghdad” (Boston: Eighteen Publications, 2012).

Valérie Rousseau (ed.), Barbara Safarova, and Champfleury. Collectors of Skies (New York: Andrew Edlin Gallery, 2012).

Laura Auricchio, Elizabeth Heckendorn Cook, and Giulia Pacini, eds. Invaluable Trees: Cultures of Nature, 1660–1830 (Oxford, UK: Voltaire Foundation, 2012).

Judith K. Brodsky and Ferris Olin, eds. The Fertile Crescent: Gender, Art, and Society (New Brunswick, NJ: Institute for Women and Art, Rutgers University, 2012).

Kathryn Brown. Women Readers in French Painting 1870–1890: A Space for the Imagination (Burlington, VT: Ashgate, 2012).

Frances S. Connelly. The Grotesque in Western Art and Culture: The Image at Play (New York: Cambridge University Press, 2012).

Zoya Kocur and Simon Leung, eds. Theory in Contemporary Art since 1985, 2nd ed. (Oxford, UK: Wiley-Blackwell, 2012).

Lauren Hackworth Petersen and Patricia Salzman-Mitchell, eds. Mothering and Motherhood in Ancient Greece and Rome (Austin: University of Texas Press, 2012).

Ming Tiampo. Gutai: Decentering Modernism (Chicago: University of Chicago Press, 2011).

Gennifer Weisenfeld. Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 (Berkeley: University of California Press, 2012).

Irina Aristarkhova. Hospitality of the Matrix: Philosophy, Biomedicine, and Culture (New York: Columbia University Press, 2012).

Helene Aylon. Whatever Is Contained Must Be Released: My Jewish Orthodox Girlhood, My Life as a Feminist Artist (New York: Feminist Press, 2012).

Paul Catanese and Angela Geary. Post-Digital Printmaking: CNC, Traditional, and Hybrid Processes (London: A&C Black, 2012).

Sharon Lee Hart. Sanctuary: Portraits of Rescued Farm Animals (Milan, Italy: Charta, 2012).

Elaine O’Brien, Everlyn Nicodemus, Melissa Chiu, Benjamin Genocchio, Roberto Tejada, and Mary C. Coffey, eds. Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms (Oxford, UK: Wiley-Blackwell, 2012).

Conrad Ross. Perceptual Drawing: A Handbook for the Practitioner (Lewiston, NY: Edwin Mellen Press, 2011).

Carolyn E. Tate. Reconsidering Olmec Visual Culture: The Unborn, Women, and Creation (Austin: University of Texas Press, 2012).