CAA News Today
Women’s History Month and caa.reviews
posted by CAA — Mar 04, 2022
Each week this Women’s History Month, we highlight the rich scholarship and programs produced at CAA that celebrate women in the fields of visual arts and the humanities. This week, we are sharing a bibliography of publications and exhibitions reviewed this past year on our open-access journal caa.reviews that feature women artists and practitioners.
caa.reviews also houses rosters of dissertation titles in progress and completed since 2002, many of which have been written by women and focus on topics related to women and feminism in the arts.
This Women’s History Month is also especially significant this year, which is the 50th anniversary of feminism at CAA. To learn more about this history, visit this page. CAA is also collecting archival materials to better understand and document the history of its Committee of Women in the Arts, including the committee’s many collaborations with other affiliate committees and groups, such as the Women’s Caucus for Art, The Feminist Art Project, the Queer Caucus, and many more. Visit this page for more information.
|Acevedo-Yates, Carla, editor. Carolina Caycedo: From the Bottom of the River. Chicago and New York: Museum of Contemporary Art Chicago and DelMonico Books/D.A.P., 2020.
Carolina Caycedo: From the Bottom of the River, installation view, Museum of Contemporary Art Chicago, 2020–21 (photograph by Nathan Keay, © MCA Chicago)
|Blanchflower, Melissa, Natalia Grabowska, and Melissa Larner, editors. Faith Ringgold. Serpentine Gallery, London, United Kingdom. Cologne: Walther König, 2019.
Faith Ringgold, Slave Rape, 1972, installation view, Faith Ringgold, Serpentine Gallery, London, 2019 (artwork © 2019 Faith Ringgold; photograph provided by readsreads.info)
|Brandow-Faller, Megan. The Female Secession: Art and the Decorative at the Viennese Women’s Academy. University Park, PA: Penn State University Press, 2020.|
|Fiell, Charlotte and Clementine Fiell. Women in Design: From Aino Aalto to Eva Ziesel. London: Laurence King Publishing, 2019.|
|Harris, Shawnya L. editor. Emma Amos: Color Odyssey. Athens: Georgia Museum of Art, University of Georgia, 2021.
Emma Amos, All I Know of Wonder, 2008, oil on linen, African fabric, 70 1/2 x 55 1/2 in. (179.1 x 141 cm), installation view, Emma Amos: Color Odyssey, Georgia Museum of Art, University of Georgia, Athens, 2021 (photograph by the author)
|Huebner, Karla. Magnetic Woman: Toyen and the Surrealist Erotic. Pittsburgh, PA: University of Pittsburgh Press, 2020.|
|Kim, Christine Y. and Rujeko Hockley. Julie Mehretu. New York: Whitney Museum of American Art in association with Prestel, 2019.
Julie Mehretu, Hineni (E. 3:4), 2018, ink and acrylic on canvas, 96 × 120 in. (243.8 x 304.8 cm). Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle, gift of George Economou, 2019 (artwork © Julie Mehretu; photograph by Tom Powel Imaging)
|Meijling, Jesper and Tigran Haas, editors. Essays on Jane Jacobs. Stockholm: Bokförlaget Stolpe, 2020.|
|Mühling, Matthias and Stephanie Weber, editors. Senga Nengudi: Topologies. Munich: Hirmer, 2021.
Senga Nengudi, Warp Trance, 2007, multi-channel audio/video installation in collaboration with the Fabric Workshop and Museum, Philadelphia, with a sound composition by Butch Morris, installation view, Senga Nengudi: Topologies, Philadelphia Museum of Art, 2021 (photograph © Aaron Igler, provided by the artist and The Fabric Workshop and Museum)
|Nakajima, Izumi. Anti-Action: Post-War Japanese Art and Women Artists (アンチ・アクション: 日本戦後絵画と女性画家). Tokyo: Brücke, 2019.|
|Nelson, Andrea editor. The New Woman behind the Camera. Washington, DC: National Gallery of Art, 2020.|
|Rose, Pauline. Working against the Grain: Women Sculptors in Britain c.1885–1950. Liverpool, UK: Liverpool University Press, 2020.|
|VanDiver, Rebecca. Designing a New Tradition: Loïs Mailou Jones and the Aesthetics of Blackness. University Park, PA: Penn State University Press, 2020.|
|Walker, Anna and Laura Mott, editors. Olga de Amaral: To Weave a Rock. Arnoldsche Art Publishers in association with the Museum of Fine Arts, Houston, 2020.
Olga de Amaral, Brumas, 2013, acrylic, gesso, and cotton on wood, installation view, Olga de Amaral: To Weave a Rock, Cranbrook Art Museum, October 30, 2021–March 20, 2022 (artwork © Olga de Amaral; photograph by P. D. Rearick, image provided by Cranbrook Art Museum)