In "Peasants, Warriors, and Wives", Keith Moxey examines woodcut images from the German Reformation that have often been ignored as a crude and inferior form of artistic production. In this richly illustrated study, Moxey argues that while they may n...

Chicago's fine arts have long languished in the shadow of the city's architectural riches, but their time has finally come, most prominently as the focus of the final major exhibition at Chicago's Terra Museum of American Art. The attendant catalog o...

Art history traditionally classifies works of art by country as well as period, but often political borders and cultural boundaries are highly complex and fluid. Questions of identity, policy, and exchange make it difficult to determine the "place" o...

We "take to our beds" to be born and to grow, to hide and to dream, to lie alone and cling together, to come of age and make love, to create and procreate, to ail and to heal, to rest and to die. Key rites of human passage occur underneath the swathe...

How do some monuments become so socially powerful that people seek to destroy them? After ignoring monuments for years, why must we now commemorate public trauma, but not triumph, with a monument? To explore these and other questions, Robert S. Nelso...

Marjorie Perloff's stunning book was one of the first to offer a serious and far-reaching examination of the momentous flourishing of Futurist aesthetics in the European art and literature of the early twentieth century. Offering penetrating consider...

Art criticism was once passionate, polemical, and judgmental; now critics are more often interested in ambiguity, neutrality, and nuanced description. And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is als...

Now in a second edition, "Aleut Ar" is a landmark work that provides a comprehensive picture of the Unangas, or Aleut people, and the place of art in their lives, both past and present. Full of extraordinary color plates representing collections f...

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, icon...

American art of the 1980s is as misunderstood as it is notorious. Critics of the time feared that market hype and self-promotion threatened the integrity of art. They lashed out at contemporary art, questioning the validity of particular media and me...