New Books In Art

There is a pervasive stereotype of tattoo culture as relating to an underworld of scoundrels, sailors, and ne’er-do-wells, yet it has existed in the West as a professionalized art practice for centuries. Drawing on extensive new research and unprecedented access to largely unpublished private archives of photographs, art, and ephemera, in Tattoos: The Untold History of a Modern Art (Yale University Press, 2024) Dr. Matt Lodder offers a new perspective on the history of commercial tattooing in Europe and the United States, beginning even before it emerged as a recognizable profession in the mid-nineteenth century. In the process, he shows that the art of tattoo has long been both practiced and commissioned by individuals across economic, gender, and class divides; he also examines the stylistic trends that have shaped tattoo’s development as an art form over its history. Lodder introduces the many artists and professionals who shaped tattoo history, including early figures like Martin Hildebrandt, the first-kn

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters’ complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including

In early nineteenth-century China, a remarkable transformation took place in the art world: artists among China's educated elites began to use touch to forge a more authentic relationship to the past, to challenge stagnant artistic canons, and to foster deeper human connections. Networks of Touch is an engaging exploration of this sensory turn. In Networks of Touch: A Tactile History of Chinese Art, 1790-1840 (Penn State UP, 2023), Michael J. Hatch examines the artistic network of Ruan Yuan (1764-1849), a scholar-official whose patronage supported a generation of artists and learned people who prioritized epigraphic research as a means of truing the warped contours of Confucian heritage. Their work instigated an "epigraphic aesthetic"--an appropriation of the stylistic, material, and tactile features of ancient inscribed objects and their reproductive technologies--in late eighteenth- and early nineteenth-century artwork. Rubbings, a reduplicative technology, challenged the dominance of brushwork as the beare

How did exhibitions become a vital tool for public communication in early twentieth century Britain? Showing resistance reveals how exhibitions were taken up by activists and politicians from 1933 to 1953, becoming manifestos, weapons of war and a means of signalling political solidarities. Drawing on dozens of examples mounted in empty shops, workers’ canteens, station ticket halls and beyond, this richly illustrated book shows how this overlooked form was created by significant makers including artists Paul Nash, John Heartfield and Oskar Kokoschka, architect Erno Goldfinger and photographer Edith Tudor-Hart. Showing Resistance: Propaganda and Modernist Exhibitions in Britain, 1933-53 (Manchester UP, 2024) is the first study of exhibitions as communications in mid-twentieth century Britain Harriet Atkinson is AHRC Leadership Fellow and Senior Lecturer in History of Art and Design at University of Brighton Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His re

In 1891 J. Murakami travelled from Japan, via San Francisco, to Vancouver Island and began working in and around Victoria. His occupation: creating permanent images on the skin of paying clients. From this early example of tattooing as work, in Needle Work: A History of Commercial Tattooing in Canada (McGill-Queen’s University Press, 2024) Dr. Jamie Jelinski takes us from coast to coast with detours to the United States, England, and Japan as he traces the evolution of commercial tattooing in Canada over more than one hundred years. Needle Work offers insight into how tattoo artists navigated regulation, the types of spaces they worked in, and the dynamic relationship between the images they tattooed on customers and other forms of visual culture and artistic enterprise. Merging biographical narratives with an examination of tattooing’s place within wider society, Dr. Jelinski reveals how these commercial image makers bridged conventional gaps between cultural production and practical, for-profit work, thereb

In Fantasmic Objects: Art and Sociality from Lebanon, 1920–1950 (Indiana UP, 2022), Kirsten L. Scheid offers a striking study of both modern art in Lebanon and modern Lebanon through art. By focusing on the careers of Moustapha Farrouk and Omar Onsi, forefathers of an iconic national repertoire, and their rebellious student Saloua Raouda Choucair, founder of an antirepresentational, participatory art, Scheid traces an emerging sense of what it means to be Lebanese through the evolution of new exhibition, pedagogical, and art-writing practices. She reveals that art and artists helped found the nation during French occupation, as the formal qualities and international exhibitions of nudes and landscapes in the 1930s crystallized notions of modern masculinity, patriotic femininity, non-sectarian religiosity, and citizenship. Examining the efforts of painters, sculptors, and activists in Lebanon who fiercely upheld aesthetic development and battled for new forms of political being, Fantasmic Objects offers an ins

An astonishing variety of murals greet visitors to the temples and palaces of southern India. Beautiful in execution and extensive in scope, murals painted on walls and ceilings adorn the most important spaces of early modern religious and political performance. Scene by scene, histories of holy sites, portraits that incorporate historical figures into mythic landscapes, and Tamil and Telugu inscriptions that evoke the imagined topographies of devotional poetry unfold before the mobile spectator. Body, History, Myth reconceives the relationship between art and devotion in South India by describing how the extraordinary sensory experience of a viewing body in motion unfurls a sacred narrative exquisitely designed to teach, impress, and inspire. Anna Lise Seastrand offers new insights into the arts of early modern southern India, bringing to life one of the most culturally vibrant yet least understood periods in Indian art. She shows how temple visitors become active participants in the paintings through their

Ancient Sculpture and Twentieth-Century American Womanhood: Venus Envy (Bloomsbury, 2025) by Dr. Hallie Franks examines the reception of Graeco-Roman sculptures of Venus and their role in the construction of the body aesthetics of the “fit” American woman in the decades around the turn of the 20th century. In this historical moment, 19th-century anthropometric methods, the anti-corset dress reform movement and early fitness culture were united in their goal of identifying and producing healthy, procreative female bodies. These discourses presented ancient statues of Venus – most frequently, the Venus de Milo – as the supreme visual model of a superior, fit, feminine physique. An America of such Venuses would herald the future prosperity of the “American race” by reviving the robust health and moral righteousness of the ancient Greeks. Venuses had long been symbols of beauty, but the new situation of Venus statues as an aesthetic and moral destination for women set up a slippage between ideal sculpture and liv

Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body: Aleksandr Deineka at the Limit of Socialist Realism (U Chicago Press, 2024) presents painter Aleksandr Deineka’s haptic and corporeal version of Socialist Realist figuration as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends.  Christina Kiaer traces Deineka’s path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Terror and beyond. In so doing, she demonstrates that Socialist Realism is best understood not as a totalitarian style but as a fiercely collective art system that organized art outside the market and formed part of the legacy of the revolutionary modernisms of the 1920s. Collective Body accounts for the way the art of the October Revolution continues to capture viewer

In recent years, manga and anime have attracted increasing scholarly interest beyond the realm of Japanese studies. This Companion takes a unique approach, committed to exploring both the similarities and differences between these two distinct but interrelated media forms. Firmly based in Japanese sources, The Cambridge Companion to Manga and Anime (Cambridge UP, 2024) offers a lively and accessible introduction, exploring the local contexts of manga and anime production, distribution, and reception in Japan, as well as the global influence and impact of these versatile media. Chapters explore common characteristics such as visuals, voice, serial narrative and characters, whilst also highlighting distinct challenges and histories. The volume provides both a basis for further research in this burgeoning field and a source of inspiration for those new to the topic. Listeners are also invited to observe an author roundtable on Feb.19, 2025. Please RSVP here. Learn more about your ad choices. Visit megaphone.fm/a

Dr. David Graves is a philosopher, artist, musician and author. He helped found the Academic College of Tel Aviv, where he is Senior Lecturer in Art and Philosophy. In this exciting interview, he talks about his recent book New Realism in Contemporary Israeli Painting (Austin Macauley, 2023), and shares insight on what is true and real about the world we live in, the stories we tell, and the worlds we create. About the book: Art today can be whatever one wants it to be: a rotting cadaver, a photograph of someone else's photograph, a banana... In this post-modern age of post-truth, of social media and the selfie, when everyone has a high-resolution digital camera at their fingertips, one wonders what would possess a talented artist to sit for days, weeks, often months, to paint a portrait of a friend or a landscape of home. Today, a group of 20 or so remarkable painters have revived a fascinating style of realistic painting, and in Israel of all places, where realistic art has never played any significant role

Building on the field of modern archival practice, Transmediation and the Archive: Decoding Objects in the Digital Age (ARC Humanities Press, 2024) explores the possibilities of archival objects. Investigating material as diverse as early modern printed books, death masks, a spirit photograph, and a manuscript choir book, Astrid J. Smith interrogates not only what the objects are now, but also asks what they were before taking material form, and what they can become as their format is transferred to other media. Blending insights from museum, library, archives, and media studies with experiential research, Smith examines the activities that shape the making of heritage objects and asks how an awareness of digitization practices can inform our knowledge of both their digital and physical form. She proposes a new methodological framework for evaluating the way materiality and media can affect our relationship with historical artefacts and book culture and demonstrates its fascinating application. Astrid J. Smit

A companion piece to Pandemonium: A Visual History of Demonology and Elysium: A Visual History of Angelology, Seven Sins and Seven Virtues (Abrams, 2024) by Dr. Ed Simon completes this moral trilogy and finally considers God’s most enigmatic of creations: None of the conundrums of metaphysics are as baroque as the motivations of the human soul. Unlike the devils condemned to perdition and the angels compelled to paradise, humans are divine creatures that house within them warring impulses. The Seven Deadly Sins and Seven Heavenly Virtues: A Visual History (Cernunnos, 2024) examines the literary, philosophical, theological, and most of all artistic expressions of the seven deadly sins and their respective seven cardinal virtues, drawing upon millennia of history to gather a compendium of humanity at its best and its worst. As a volume, the book explores the Manichean nature of the human animal in all of its grandeur and canker, motivated by the faith that tales of damnation and salvation are the only stories t

Weaving Europe, Crafting the Museum: Textiles, history and ethnography at the Museum of European Cultures, Berlin (Bloomsbury, 2023) by Dr. Magdalena Buchczyk delves into the history and the changing material culture in Europe through the stories of a basket, a carpet, a waistcoat, a uniform, and a dress. The focus on the objects from the collection of the Museum of European Cultures in Berlin offers an innovative and challenging way of understanding textile culture and museums. The book shows that textiles can be simultaneously used as the material object of research, and as a lens through which we can view museums. In doing so, the book fills a major gap by placing textile knowledge back into the museum. Each chapter focuses on one object story and can be read individually. Swooping from 19th-century wax figure cabinets, Nazi-era collections, Cold War exhibitions in East and West Berlin, and institutional reshuffling after German unification, it reveals the dramatically changing story of the museum and its

Today we speak to Hildegard Westerkamp, the pioneering composer, radio artist and sound ecologist. The centerpiece of all of her work is a close attention to the sonic environment and its relation to culture. We will listen to excerpts of six soundscape compositions made between 1975 and 2005, all of which reward the close listener–conceptually and aesthetically–with a deeper relationship to the sonic environment.  Mack Hagood interviewed Westerkamp shortly after the death of R. Murray Schafer in late 2021. Westerkamp worked closely with Schafer in the early 1970s and she graciously agreed to talk about him despite the grief being fresh. They also discussed her own amazing career and that’s the part of the tape we are sharing in this episode. They talk about her formative years as a 20-something working with Schafer and his World Soundscape Project and then we jump into a number of her compositions, ending with the piece “Breaking News” from 2012.  Incredibly, she said Mack was the first person to ever ask he

William Gallois joins the podcast to discuss his latest book, Qayrawān: The Amuletic City, published by The Pennsylvania State University Press in 2024. Qayrawān: The Amuletic City investigates the fascinating history of the Tunisian city of Qayrawān, which in the last years of the nineteenth century found itself covered in murals. Concentrated on and around the city’s Great Mosque, these monumental artworks were only visible for about fifty years, from the 1880s through the 1930s. This book investigates the fascinating history of who created these outdoor paintings and why. Using visual archaeological methods, Qayrawān highlights the ‘unknown artist’ as an actor of ‘unnoticed agency’ and a practitioner of living traditional arts. Locating pictorial records of the murals from the backdrops of photographs, postcards, and other forms of European ephemera, Gallois identifies a form of religious painting that transposed traditional aesthetic forms such as house decoration, embroidery, and tattooing―which lay excl

At the height of his career, Sargent painted twelve portraits of the Wertheimer family, commissioned by Asher Wertheimer, a German-Jewish London art dealer who became his greatest private patron and close friend. Their portraits, later gifted to the National Gallery, stirred both admiration and controversy, challenging societal norms. In Family Romance: John Singer Sargent and the Wertheimers (FSG, 2024), Jean Strouse's historical narrative explores the decline of the British aristocracy and the evolving art market across London, Vienna, and Italy. Christina Obolenskaya researches twentieth-century women’s political history based out of Columbia University and LSE. In the past, her work has been featured in the Times Literary Supplement, Harvard Review and more. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by t

Across Iron Age Central Eurasia, non-sedentary people created, viewed, and considered animal-style imagery, creating designs replete with feline bodies with horse hooves, deer-birds, animals in combat, and other fantastic creatures. Fantastic Fauna from China to Crimea: Image-Making in Eurasian Nomadic Societies, 700 BCE-500 CE (Edinburgh University Press, 2023) focuses on this animal-style imagery, examining the dissemination of this image system.  Filled with fascinating images carefully chosen from an enormous geographical scope, Petya Andreeva's vivid book explores how communities used animal-style design to create and define status, to bond alliances together, and to showcase steppe know-how and worldliness in sedentary communities. Fantastic Fauna should appeal to those in Eurasian history, East Asian history, art and archeology, and those interested in thinking about steppe art.  Interested listeners should also check out Petya's chapter on the Golden Hoard (available here), part of an Open-Access UNES

Miracles and Machines: A Sixteenth-Century Automaton and Its Legend (Getty Publications, 2023) tells the singular story of an uncanny, rare object at the cusp of art and science: a 450-year-old automaton known as “the monk.” The walking, gesticulating figure of a friar, in the collection of the Smithsonian Institution’s National Museum of American History, is among the earliest extant ancestors of the self-propelled robot. According to legend connected to the court of Philip II of Spain, the monk represents a portrait of Diego de Alcalá, a humble Franciscan lay brother whose holy corpse was said to be agent to the miraculous cure of Spain’s crown prince as he lay dying in 1562. In tracking the origins of the monk and its legend, the authors visited archives, libraries, and museums across the United States and Europe, probing the paradox of a mechanical object performing an apparently spiritual act. They identified seven kindred automata from the same period, which, they argue, form a paradigmatic class of wal