Exhibition Catalogue Research Articles

The art of fighting under glass: Review of museum exhibitions displaying fight books, 1968-2017

Abstract A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.

Home - So Different, So Appealing

Home - So Different, So Appealing is the catalogue of the eponymous exhibition organised by the UCLA Chicano Studies Research Center; the Los Angeles County Museum of Art; and the Museum of Fine Arts, Houston; as a part of Pacific Standard Time: LA/LA, a programme focused on Latin American and Latino art in relation to Los Angeles. Prepared by curators of the three respective institutions, Chon A. Noriega, Mari Carmen Ramirez, and Pilar Tompkins Rivas, the exhibition and its accompanying cata...

“The Bag Is My Home”: Recycling “China Bags” in Contemporary African Art

“The Bag Is My Home”: Recycling “China Bags” in Contemporary African Art

The Celebration of the 150th Anniversary of the Birth of Léon Bakst in Three Exhibition Catalogues

The Celebration of the 150th Anniversary of the Birth of Léon Bakst in Three Exhibition Catalogues

The Collecting Practices for Art Exhibition Catalogs at Academic Libraries in the United States and Canada

Reporting on the results of a survey conducted in spring 2017, the author offers insight into the contemporary trends and challenges of collecting US, Canadian, and European print and digital art exhibition catalogs by academic art librarians in the United States and Canada. Findings demonstrate that for academic institutions with programs in art history, fine arts, or design, exhibition catalogs are a collection priority. Due to the variety of publishers of art exhibition catalogs, specialized knowledge to identify and acquire these resources is required.

6. The Art of Absence: The Practice of Contemporary Curating

In fall 2016, ARTH 422: Contemporary Curating had the unique opportunity to curate an exhibition for the spring 2017 season at the Agnes Etherington Art Centre. Under the guidance of Jennifer Kennedy, our curatorial team of 12 students worked closely together to develop a theme, set out objectives, select art works from the Agnes’ Contemporary Collection, and organize an exhibition catalogue.
 The curator has gained a significant role with the emergence of Contemporary Art, which predominantly de-emphasizes the tangible object and relocates it to the idea. Whereas traditional concerns included style, mode, medium and ideology, contemporary artists express interests encompassing place making, world picturing, and connectivity. As a mediator between artists and audiences, the curator treats art as a verb: transforming a constellation of silent objects into a moving, illuminated, dynamic experience.
 Our process began with researching and developing a theoretical and applied understanding of a curator's role and contemporary curatorial practice. Our collaborative process involved investigations of ‘absence’ along with the affective, existential, and relational intensities that live beyond our perceptive abilities. As a team of 12, we collectively worked through the challenges of reaching an open audience, limitations of physical space, time constraints, and adapting to unforeseen complications. As curators, we worked to create an affective experience/dialogue that goes beyond the initial encounter of art and offer a space to bridge the gap between art and life. Our aim in the exhibition was to reassure the viewer that confusion is positive and welcome and encourages critical dialogue and thinking.

Alice Correia. Review of "Artist and Empire: Facing Britain’s Imperial Past" by David Blayney Brown, Carol Jacobi, and Alison Smith.

Artist and Empire: Facing Britain’s Imperial Past is both a fascinating and frustrating compendium of art made since the sixteenth century that either depicts, reflects, or comments upon, British colonialism. Written by a team of Tate curators, with contributions by Gus Casely-Hayford, Annie E. Coombes, Paul Gilroy, Nicholas Thomas and Sean Willcock, this exhibition catalogue seeks to address the legacies of the British Empire: to reconsider how Empire was recorded and perceived by those artists actively involved in, or affected by, Britain’s colonial enterprise; to equitably present and reconsider artworks by indigenous or colonized people; to identify and celebrate artistic cross-fertilization and hybrid adaptation; and to examine artistic post-colonial critique.

Colour: The Art and Science of Illuminated Manuscripts, ed. Stella Panayotova

This book is the catalogue for the exhibition of the same title that was staged at the Fitzwilliam Museum in Cambridge in 2016. It gives detailed and scholarly entries on each of the manuscripts exhibited (more than 150 in total) and provides fourteen thematic essays, one for each of the sections of the exhibition. Though it was useful to have copies of the catalogue available in the gallery space at the Museum (and many visitors consulted them on the occasions when this writer was at the exhibition), this book is also much more than an exhibition catalogue, and stands alone. Those who attended the exhibition will enjoy delving further into the material, but readers who were not able to attend the exhibition will also benefit greatly from reading this book. On the one hand it provides detailed information about, and over 400 beautiful colour illustrations of, a fascinating selection from the extensive collections held by the Museum (along with a few loans from collections in Cambridge, Britain and Continental Europe). It is a handsome and enticing volume, and invites dipping in and flicking through. A reader can focus upon one or two catalogue entries at a time, and learn much about the individual manuscripts featured. However, the catalogue really comes into its own with its thematic orientation: essays range from technical aspects of colours available to manuscript painters, through trade in colours and the making of pigments, to techniques of painting in different colours (including gold and silver), attitudes to colour and light (the very first sentence of the catalogue reminds us of the Newtonian observation that colour is simply an effect of light) and the meanings of colours. Each essay precedes a number of catalogue entries dealing with manuscripts that are carefully judged to be able to shed light on the theme of the essay in each case.

Make New Critical Stories. A View on the 2017 Chicago Architecture Biennial

The 2017 edition of the Chicago Architecture Biennial, Make New History, like any other similar event, has caused debate and controversy. Beyond inevitable flaws and shortcomings, the CAB though deserves to be appreciated for the quality of most of the exhibited projects, works or installations, some of which managed also to offer what was missing in this CAB’s main theme: a critical perspective. The theme itself of the CAB is challenged, but the good works of many international architects and artists, well selected by the Artistic Directors Sharon Johnston and Mark Lee, is appreciated for their contributions to a critical discourse in our field, for their “critical stories.” Through a discussion of the curators’ hypothesis and of some of the most interesting works, as well as of some critical contributions included in the exhibition catalog, this review tries to offer a critical assessment for an event that, fortunately, has already acquired an outstanding position within the architecture cultural landscape of our time.

"Waiting for Water": An Art and Science Collaboration about Water in Three Regions of Australia

In many parts of Australia, water cycles can be fickle, bringing a sense of unpredictability and risk to our wait for In the 2016 art exhibition, Waiting for Water, artists Sarah Pirrie (Darwin), Suzi Lyon (Alice Springs), and Amy Jackett (Hobart) visually responded to witnessing impacts of water changes in their local environments. Exhibited simultaneously in Darwin and Alice Springs in the Northern Territory, and Lake St Clair in Tasmania, the exhibition and accompanying catalogue explored relationships with water across Australia, from the dry tropical Top End to arid Central Australia to the rugged topography of temperate Tasmania. The project included a collaboration with palaeoecologist Penny Jones to bring an ecological perspective to bear on our artistic points of focus. Jones contributed three ecological essays in the exhibition catalogue, finding a commonality in societal learning through climatic variability. The aim of the project was to invite a collective discourse around our environmental future of waiting for water.

NEW EXHIBITION EXAMINES THE SOCIAL LIFE OF BRONZES THROUGH THE CENTURIES

AbstractThis is a short review of the “Mirroring China's Past” exhibition at the Art Institute of Chicago (February 25th–May 13th, 2018). For reference, the exhibition catalog is: Tao Wang 汪涛 et al. Mirroring China's Past: Emperors, Scholars, and Their Bronzes [吉金鑒古]. The Art Institute of Chicago, 2018. Distributed by Yale University Press, New Haven and London.

Текстильный арт-объект в искусстве XX-XXI веков

This article explores “textile sculpture” (“soft sculpture”) and attempts to situate it within art history continuum. The debate continues as to whether the three-dimensional works of textile art are merely decorative craft items or monumental works of art. Three-dimensional textile art works can be described as an “art object” according to the analysis of twentieth century articles on art and the study of contemporary authors. The three-dimensional “textile sculpture” in the 1960s contributed to the development of this form and to the emergence of ever larger forms. In the 1970s, the textile art objects became miniaturized. The term “fiber art” was coined in the second half of the 20th century. The analysis of contemporary textile art objects, using catalogues of textile art exhibitions in 2010-2016, indicates that this art form continues to evolve and remains popular. The works presented at textile art exhibitions provide the evidence of the significance given to conceptual thinking. The artists working with fiber address such relevant topics as human relationships, environmental and social issues among other topics and themes. This investigation concludes that we can undoubtedly consider fiber art as contemporary art.

Databases and Project Management in Digital Humanities

How did the database project begin? The ARTL@S project offers researchers a digital database of catalogues of exhibitions held all over the world during the nineteenth and twentieth centuries. The addresses contained in these catalogues are geo-referenced, regardless of era and geography. The tool is designed to enable monographic research as well as a study of the circulation of works of art, and the construction of careers and tastes in this process. Through its capacity to centralize and cross-reference sources that are often difficult to access, the ARTL@S database aims to breathe new life into the international history of exhibitions and the culture associated with them. It has just been opened to the public and it is accessible from the project's central online portal. ARTL@S is financed by the Ecole normale superieure (ENS) Paris, l’Agence Nationale de la Recherche (ANR, Projet Jeunes-Chercheurs 2011-2016), PSL Research University Paris, l’Institut d’histoire moderne et contemporaine (UMR 8066, CNRS/ENS), and the laboratoire d’excellence TransferS (programme Investissements d’avenir ANR-10-IDEX-0001-02 PSL* et ANR-10-LABX-0099). It is headed up by Beatrice Joyeux-Prunel (ENS Paris) in collaboration with Catherine Dossin (Purdue University, USA) and Lea Saint-Raymond (Universite de Nanterre). The project has its roots in the early 2000s, with a team of doctoral students and young scholars in history, history of art and literature. We were searching for a social, quantit

Emergency Noises: Sound Art and Gender by Irene Noy

Reviewed by: Emergency Noises: Sound Art and Gender by Irene Noy Florence Feiereisen Emergency Noises: Sound Art and Gender. German Visual Culture Series. By Irene Noy. New York: Peter Lang, 2017. Pp. xxiv + 312. Cloth $82.95. ISBN 978-1787078550. During the Enlightenment, the art world suffered from the "modern splitting of temporal and spatial art forms" (1)—as the Renaissance's unity of the arts dissolved, the visual arts were rendered silent. Traditionally, art history has followed a monosensoric approach by mainly concentrating on the visual, yet in the twentieth century, performance and multimedia art have introduced new modes of production, as well as perception peppered with sensoric experiences: artists have been adding tactile, olfactory, and sonic dimensions to their art—to much critical acclaim. With Emergency Noises, Irene Noy pursues various sensoric avenues through the arts by studying the works of five female sound artists in West Germany. Sound art, Noy points out, is "concerned with new ways of exploring both the materiality of sound and its interconnectedness with the visual" (37), and warns that it "should not be seen as a competitor to music or the visual arts, but rather as a force that nourishes both, and as a reaction against the stereotypical narrative that depicts the modern age as almost exclusively visual" (3). Noy's choice of visual vocabulary ("seen" and "depicts") demonstrates Western society's ocularcentrism; another case in point is the fact that the book was published as volume 4 of Peter Lang's "German Visual Culture" series. Noy credits several forces that helped bring sound art to the fore and virtually into all well-known exhibition spaces: technological advances since the late nineteenth century to record, play back, produce, and manipulate sound have facilitated more experimentation with sound. The 1960s saw the commercial release of Moog synthesizers that turned many music consumers into active music producers; electronic [End Page 671] and especially minimalist music gained lots of attention. The introduction of Sony's Walkman in the 1980s—essentially taking away spatial restrictions and allowing music to be consumed almost anywhere—is just one example of how technology turned sound into a commodity that could be easily disseminated. If sound art is not a peripheral phenomenon anymore, why then is Noy's book called Emergency Noises? Noy has surveyed the canon of sound art and concludes that female practitioners are underrepresented and underrated. (This, by the way, isn't any different in other areas of art production.) "Emergency," then, stands for the "urgency of [feminist] issues at stake" (24) in the art world and in society. "Noises" criticizes the patriarchy's perception of a woman's voice and is used here in the sense of "making noise," bringing change. The title is also a nod to Christina Kubisch's Emergency Solos performance series that is extensively described in chapter 5. By offering a gendered reading of the field of sound art, Noy seeks to make the voices of women heard (both literally and figuratively, 280). Noy's excursion into gender studies and feminist theory is rich and informative, but several subchapters are unnecessarily extensive. Noy's strong and convincing voice is best heard in chapters 4–7, which showcase five female sound artists: Bauermeister, Kubisch, Nettesheim, von Wedel, and Westerkamp. Mary Bauermeister was a visual artist whose earlier works were accompanied by audio recordings of her collaborator and husband, Karlheinz Stockhausen, who composed electronic and serial music. The 1962 exhibition catalogue at Amsterdam's Stedelijk Museum featured Stockhausen's music; parts of his scores were printed on the inside covers. However, Noy's argument that Bauermeister's "experimentation with forms and materials do give [her works] a 'sonority' akin to music" (146) is not elaborate enough to convince me that Bauermeister should be regarded as a sound artist. There is no doubt that she is an important figure in the art world: in the 1960s, Bauermeister ran the Atelier Bauermeister, an alternative artist hub in Cologne where she hosted and connected many (almost exclusively male, as Noy notes) visual and performing artists, architects, musicians, and writers, including John Cage, Nam June Paik, Otto Piene, Heinz Mack, and Arnulf Rainer. The "Urmutter of the Cologne...

Henry James and American Painting by Colm Tóibín, Marc Simpson, and Declan Kiely

Reviewed by: Henry James and American Painting by Colm Tóibín, Marc Simpson, and Declan Kiely Wendy Graham Colm Tóibín, Marc Simpson, and Declan Kiely. Henry James and American Painting. The Morgan Library and Museum with the Pennsylvania State UP 2017. I will preface my review of the exhibition catalog with an account of the exhibition, June 9 through September 10, 2017, that gave rise to it. It might be said that the constraints of mounting an exhibition in one large room presaged limitations in the catalog. Following the Morgan Library and Museum's well-received exhibitions dedicated to homebody literary geniuses, Charlotte Brontë and Emily Dickinson, curators and staff attempted to encompass the cosmopolitan visual culture of Henry James. The curators required an organizing theme that would limit the scope of the exhibition to a manageable size. Even so, "Henry James and American Painting" seems a bit of a misnomer. The artists featured in the exhibit were expatriated Americans rather than members of the indigenous Hudson River or Ashcan Schools. John Singer Sargent was reared and trained in Europe; J. A. M. Whistler studied in Paris and lived abroad; American painter William Morris Hunt studied with Frenchmen Thomas Couture and Jean Francois Millet; John La Farge, the son of French émigrés, drew inspiration from Japanese art; Frank Duveneck, the son of German immigrants, received training in Munich; his student and later wife, Elizabeth (Lizzie) Boott, spent much of her time in Europe before settling in Italy. The curators employ the term "expatriate" as a label but ignore the exiles' quests for a richer cultural and historical background than America could supply in the 1870s. Two autograph letters from Henry James to La Farge deplore the painter's poverty of inspiration in "toney" Newport (HJL 1: 119–22, 133–35), but this commentary is omitted from the information tag. A handful of reviews of American artists (Winslow Homer, Duveneck) exhibiting on American shores obscure the fact that James's principal engagement with pictures occurred in England and on the continent. If American painting is a red herring, the [End Page 200] exhibition and catalog aim to shed light on James's personal relations with American artists and how these friendships informed his writings on art and, more important, his formulation of characters and plots. The exhibit's didactic panels and object captions, charmingly anecdotal and suggestive, have a unifying theme: James's friendships with artists, acquaintance with locales, and other biographical data. There is little formal analysis on offer, either of individual paintings or of the correspondences between the pictorial and literary aesthetic. Impressionism is mentioned briefly in the context of Lila Cabot Perry's acquaintance with Monet's circle rather than Sargent's brushwork. The quality of the works showcased at the Morgan is high. The museumgoer is greeted by Sargent's famous portrait of Henry James (1913), which belongs to the National Portrait Gallery, London. With its appraising gaze, bald dome of genius, and sensual lips, the portrait shows James at the height of his powers, though advanced in years. The curators playfully identify the quality of masculine arrogance that incited a suffragette to plunge a dagger into the freshly painted portrait. A wall displaying photographs of James (plus sketches and amateur portraits in oils) supports the thesis that James's reticence about his private life and destruction of personal papers did not interfere with his sitting for his portrait. James was clearly a figure, or rather a visage, of fascination for his artistic circle. An array of gorgeous Sargent pictures of Italian scenes and interiors reinforces the notion that James and Sargent, a bachelor expatriate of uncertain sexuality who took an interest in fashionable women, were "mirror images." Among these pictures, An Interior in Venice (The Curtis Family) of 1898 attests to James's critical acumen in signaling Sargent's disregard for faces. James's friend Mrs. Ariana Curtis took exception to her portrait (and something louche in her son's bearing) and rejected the artist's proffered gift, whereas the sterling tea service is an example of bravura painting. The curators summarize James's championship of Sargent and career-boosting recommendation that...

We Wanted a Revolution: Black Radical Women, 1965–1985: A Sourcebook ed. by Catherine Morris and Rujeko Hockley

Reviewed by: We Wanted a Revolution: Black Radical Women, 1965–1985: A Sourcebook ed. by Catherine Morris and Rujeko Hockley Suné Woods, Artist Catherine Morris and Rujeko Hockley, eds. We Wanted a Revolution: Black Radical Women, 1965–1985: A Sourcebook. Durham: Duke UP, 2017. 320 pp. $24.95. There is much to be mined in a lacuna of twenty years. What is found within We Wanted a Revolution: Black Radical Women, 1965–1985: A Sourcebook, edited by Catherine Morris and Rujeko Hockley, is a bound archive of republished articles, documents, ephemera, new essays, and a deeply thoughtful compilation of prolific artists, cultural critics, writers, and art historians. The Sourcebook is an essential resource that adds to the complexity of the very important and ambitious exhibition We Wanted a Revolution: Black Radical Women, 1965–1985, curated by Morris and Hockley, which was organized at the Brooklyn Museum in 2016 and is traveling through September 2018. Black women artists carved spaces for themselves and future generations often in solidarity and in support of each other’s work despite the matrix of obstacles that they faced in domestic and public space during this time period. “Yet, is ‘obstacles’ a kind of lie?” Cultural theorist Gloria Anzaldúa asserts in the Sourcebook, “We cannot transcend the dangers, can’t rise above them. We must go through them and hope we won’t have to repeat the performance.” Many institutions would prefer to love women artists of color in retrospect. I visited the exhibition at the California African American Museum in Los Angeles in 2017. Both the exhibition and the Sourcebook counter narratives of scarcity and the historical erasure of contributions by women artists of color to contemporary art practice. In doing so, the accompanying Sourcebook creates an ideological space for dialogue, cultural response, and expanded black consciousness. Sourcebook circumvents expectations of a conventional exhibition catalogue by being an accompanying compilation of sources to foster more in-depth understanding of the sociopolitical terrain that women of color traversed in the United States. Texts by Connie Choi, Carmen Hermo, Rujeko Hockley, Catherine Morris, and Stephanie Weissberg are organized into thematic sections with writing that gives historical overview. Sources are indexed and easily referenced throughout. The collection of material includes reproductions in facsimile form such as (teenage) art historian and curator Linda Goode Bryant’s 1967 handwritten letter to her parents in Columbus, Ohio while on a school trip to New York in which she writes, “I find myself suffocating from whiteness, with no place to escape,” or Lorraine O’Grady’s Mlle Bourgeoise Noire Goes to the New Museum in The Women Pages of the 1982 publication Heresies: A Feminist Publication of Art and Politics (with photo by Coreen Simpson). Also included is an announcement card for Senga Nengudi’s Freeway Fets, an unchoreographed performance that Nengudi wants to have feel like “talismanic objects with undefined expressive power.” This work was also documented by Barbara McCullough’s 1979 film, Shopping Bag Spirits and Freeway Fetishes: Reflections on Ritual Space. This impressive Sourcebook is also evidence to a legacy of womanist, feminist, lesbian, and queer groups and organizations working to end gender and hegemonic oppression. (Arguably, the activism in which women of color were engaged during [End Page 59] this time led to the socially conscious, landmark 1993 Whitney Biennial.) Hockley writes about The Combahee River Collective as the “most significant contribution to both the history and theory of black feminism is its articulation of the interconnection of race, class, gender, and sexuality in an individual’s life.” Throughout, its archival materials give context to the conceptual and aesthetic considerations artists in the exhibition worked through, the issues they found most urgent. It seems to me that the groundwork they laid helped to precipitate the culture wars of the 1990s. Morris and Hockley, co-editors and curators, describe their exhibition as “a timely historical corrective: a presentation of radical approaches to feminist thinking that were developed by women of color simultaneously with, and often in opposition to, the more widely acknowledged views promoted by second-wave feminism.” This point of opposition that Morris and Hockley describe is acutely driven through Toni Morrison’s 1971 essay “What the...

Egon Schiele ed. by Vienna Albertina

Reviewed by: Egon Schieleed. by Vienna Albertina Alys X. George Albertina, Vienna, ed., Egon Schiele. With texts by Johann Thomas Ambrózy, Christof Metzger, and Klaus Albrecht Schröder and an essay by Eva Werth. Translated by Gérard A. Goodrow, Bram Opstelten, and Michael Scuffil. Vienna/Munich: Albertina/Hirmer, 2017. 379 pp. Exhibition catalogue published in conjunction with the exhibition "Egon Schiele" at the Albertina, Vienna, 02 22– 06 18, 2017. "How often do you have to listen to Beethoven's Ninth Symphony before you become bored with it? How many times do you have to read Thomas Mann's The Magic Mountainbefore it is enough? Are two visits to Notre Dame in Paris sufficient for one lifetime?" (12). Klaus Albrecht Schröder, director general of the Albertina Museum Vienna, opens his foreword to the catalogue of the museum's most recent Egon Schiele exhibition with this series of rhetorical questions, posed with a twofold purpose. In addition to implicitly preempting a predictable reaction (yet anotherSchiele exhibition and catalogue? what could possibly be new?), Schröder uses this line of questioning to advance his conviction that the Albertina, among the world's foremost collections of prints and drawings, is culturally obligated to display its most significant holdings by key artists—Dürer, Rubens, Rembrandt, Klimt, et al.—every decade or so. Like clockwork, then, it was Schiele's turn again in 2017 after twelve years—and, in a surprising move, one year ahead of the centennial of his death. Recent scholarship has opened up new inroads into various facets of Schiele's creative output, touching off something of a paradigm shift. If the great achievement of the 2005–06 exhibition was highlighting and contextualizing the performative aspects of Schiele's work, the aim of the 2017 show was to present a new interpretive framework for Schiele's images: an ethical, spiritual iconography. Both approaches have in common a shift away from the psychobiographical readings of Schiele's art that even today tend to haunt Schiele scholarship. Moreover, they enable us to see beyond the oftenprurient focus on the erotic dimensions of Schiele's images. Johann Thomas Ambrózy, co-editor of the Egon Schiele Yearbook, board member of the Egon Schiele Research Society, and scientific advisor for the exhibition and catalogue, argues that Schiele "now proves to be not just the disturbingly haunting painter of existential loneliness, but also a champion of high ethics and impassioned spirituality" (18). Eight of the nine catalogue essays stem from Ambrózy's pen. His [End Page 88]contributions include requisite, albeit brief, texts on Schiele's figural work and self-portraiture, as well as on his landscapes and still lifes. Insights that will strike many readers as novel—and which reside well within the author's wheelhouse—include one in which he links Schiele's characteristic, splayed-finger V-gesture to a Byzantine Christ Pantocrator mosaic at the Chora Church in Istanbul. The artist, Ambrózy claims, would have known reproductions from a book about the church published in 1908 and held by the library of the Academy of Fine Arts while Schiele was a student there. Perhaps the most important essay is "Allegorical Works: The Spirituals," in which Ambrózy recounts and extends the central claim of his ongoing research, namely, that a Franciscan ideal underlies a number of Schiele's works. As Ambrózy has shown elsewhere, Schiele encoded figures of St. Francis of Assisi and his circle in several of his most significant oil paintings from 1912 ( Conversion, Caress, and Agony, for instance) and, as argued here, in a series of works on paper from 1913 (including Redemption, Devotion, and The Truth Has Been Unveiled). The only contribution not authored by Ambrózy, Eva Werth's "Fascinating Paris: Schiele between Rimbaud and Apache," sets out in a different direction, away from the spiritual readings of the other essays. It takes as its subject the influence of French culture on the artist's literary attempts and artistic persona. Werth connects Schiele's poetry, aphorisms, journal entries, and letters, as well as his rebellious artistic and social otherness, to an intellectual affinity with fin-de-siècle Paris...

Dreamlands: Immersive Cinema and Art, 1905 – 2016: Whitney Museum of American Art, October 26, 2016 – February 5, 2017

Eschibition Review:Exhibition catalog: Chrissie Iles, Dreamlands: Immersive Cinema and Art, 1905–2016. New Haven/London: Yale University Press, 2016. 256pp.; 300 color and 100 b/w ills. Hardcover $65.00 (9780300221879) Exhibition schedule: Whitney Museum of American Art, New York, NY, October 28, 2016–February 5, 2017

Firelei Báez: Bloodlines: The Andy Warhol Museum, February 17 – May 21, 2017

Exhibition Review:Exhibition catalog: María Elena Ortiz, Firelei Báez: Bloodlines, exh. cat. Text by María Elena Ortiz, Naima J. Keith, and Roxane Gay. Miami: Pérez Art Museum Miami, 2015. 128 pp.; 65 ills (53 col.). Cloth $35.00 (9780989854672)Exhibition schedule: Pérez Art Museum Miami, FL, Oct. 15, 2015 – March 6, 2016; The Andy Warhol Museum, Pittsburgh, PA, February 17–May 21, 2017

Introduction & overview

Over the past year, Greek archaeology has seen a remarkable number of new publications, both fieldwork data reports (ADelt vols 65–68 for 2010–2013 in ten fascicules, AEMTh 25 and AEThSE 4, among others) and conference proceedings, exhibition catalogues, monographs and Festschriften that include much new and unpublished material. Regular updates continue to appear in AGOnline, but it has been impossible to process all this material in the space of a few months for publication in this year's Archaeology in Greece. Some of the new exciting discoveries are, however, presented in the ‘Newsround’ section, and we hope to provide further updates in next year's AG.