Writing for The New Republic, Jed Perl lists “half a dozen remarkable books about the visual arts published during the year.” Two of his six favorites were published by Yale University Press this past year: Second Diasporist Manifesto: A New Kind of Long Poem in 615 Free Verses by R. B. Kitaj, and Calder Jewelry edited by Alexander S. C. Rower and Holton Rower. “Each is a book,” says Perl, “that I expect I’m going to be returning to in 2008–and in the years beyond.”

Perl calls Kitaj’s Second Diasporist Manifesto “a wonderfully idiosyncratic book.” He goes on to say that “the book is niftily laid out, with Kitaj’s drawings and paintings reproduced in a black-and-white that suggests the brevity of tabloid imagery, and shots of red ink added to underscore the vehemence of Kitaj’s drumroll pronouncements.”

This book, a follow up to Kitaj’s influential First Diasporist Manifesto (1989), is a personal reflection on the Jewish Question in contemporary art as it is lived and painted and imagined by one of today’s most innovative and controversial artists. In 615 distinct propositions that deliberately echo the Commandments of Jewish Law, Kitaj here channels his ideas for a new Diasporist art in a daring stream of consciousness. Including 41 images of the artist’s work chosen by him to accompany the text, this beautifully crafted volume is a unique and fascinating look into an artist’s unusual life and work.

Calder Jewelry, says Perl, “adds yet another level of delightful complication to our understanding of an American artist whom too many people still take for granted.” He calls the book an “opulent volume,” and praises Maria Robledo’s photographs, which “bring us very close to the jewelry, until we feel as if we are actually touching these miniaturized fantasies, taking them in our hands, trying them on.”

Calder Jewelry features around 300 bracelets, brooches, necklaces, and rings, all of which are exquisitely reproduced in newly commissioned photographs. Also included are examples of Calder’s inventory drawings; the boxes he made to store the jewelry; historic photographs of his jewelry worn by notable patrons, art collectors, and artists (for instance, Peggy Guggenheim and Georgia O’Keeffe); and a chronology. Essays by Mark Rosenthal and Jane Adlin discuss the relationship of these objects to the artist’s other endeavors and in relation to the history of jewelry.

Click here to read the rest of Perl’s article.