Understanding the Viennese artist Hans Makart’s studio requires looking beyond style to matters of science and commerce, subjectivity and power.
Since the middle of the nineteenth century, archaeology has been firmly established as a specific way of exploring the past. So where, then, is the dividing line between history and archaeology?
Threats and Promises: The Marketing and Promotion of Electric Lighting to Women in the United States, 1880s-1960s
Margaret Maile Petty
Examining the development of a specific gendered discourse driven by the electrical industry that united key beliefs about feminine beauty, identity, and the domestic interior.
Introduction by Claudia Wedepohl; Translated by Christopher D. Johnson
An unusual firsthand account of the origins of the distinct approach to the history of images developed by Aby Warburg.
Notes from the Field
Brandbilder: Kunstwerke als Zeugen des Zweiten WeltkriegsIvan Gaskell
When does an artwork become so compromised by damage or deterioration beyond the power of conservators to restore that it loses its artwork character? Can such a damaged thing acquire non-art aesthetic characteristics that compensate, in some sense, for the losses of those aesthetic characteristics it had as an artwork?
After Midnight: Indian Modernism to Contemporary India, 1947/1997Ivan Gaskell
Arshiya Lokhandwala, independent curator and founder of the Lakeeren Gallery in Mumbai, has assembled a fascinating exhibition in two complementary parts that offers visitors to the Queens Museum in Flushing’s Corona Park a selective crash course in Indian art from independence to the present.
Koloman Moser: Designing Modern Vienna 1897–1907Christopher Long
In the spring of 1903, Josef Hoffmann and Koloman Moser founded the Wiener Werkstätte. The company, officially recorded in the commercial court records as the Wiener Werkstätte Productiv-Genossenschaft von Kunsthandwerkern (Productive Cooperative of Artisans), was neither truly a cooperative . . .
Les arts de l’Islam au Musée du LouvreTony Cutler
Readers of West 86th, published in the United States, may be surprised to find here a review of the French edition of this book when there exists a perfectly good English-language translation. The reason is that the latter, and to a lesser extent the former, are already “rare” books. When, soon after the books’ simultaneous . . .
Please Come to the ShowKim Dhillon
I recently purchased a used copy of the art historian Ursula Meyer’s Conceptual Art (1972) on Amazon for £1.76, plus international shipping and postage. It arrived in the post a week or so later after being dispatched from New York to my home in London. When I opened it, I noticed that the inside cover was stamped with the name . . .