Reviewed by Kerry Boeye
What do the types of objects once dubbed minor offer ongoing discussions of the material turn?
Reviewed by Jo Applin
Grey is the color of losers, not winners. It is dull, pessimistic, and uninteresting (in fact it is barely a color, and it is more often described as a tone or shade).
Reviewed by Christopher Long
A question—certainly the question—about Moser remains: to what extent was he responsible for forging the new language of purified form that would become synonymous with the early Viennese Moderne?
Reviewed by Kim Dhillon
Reviewing the material in Please Come to the Show one cannot help but wonder: how do museums archive such stuff now? Instead of desks cluttered with announcements, we have e-mail in-boxes littered with e-flyers.
Reviewed by Anthony Cutler
The essays in Les arts de l’Islam often integrate architectural decoration into the narrative, as against those American catalogues in which buildings are shunted off to the ghettos of separate chapters written by separate hands.
Treasuring the Gaze: Intimate Vision in Late Eighteenth-Century Eye Miniatures / Women and the Material Culture of Death
Reviewed by Freya Gowrley
Since the publication of Arjun Appadurai’s seminal collection The Social Life of Things in 1986, it is fair to say that the field of material culture has been preoccupied with the idea that “commodities, like persons, have social lives”
The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments, 1400–1800
Reviewed by Pamela H. Smith
Thinking about the meanings attached to color in different places and times has become second nature, but thinking about the materiality of color can seem more problematic.
Reviewed by Xiangnan Xiong
Freud’s domestic works affirmed traditional bourgeois lifestyle while incorporating features from a progressive vision of modern life.