This time of year, members have the opportunity to provide an important contribution to CAA’s four journals—either by serving as a volunteer member of an editorial board or by applying to be an editor-in-chief or reviews editor.
Below are 14 opportunities to help shape the editorial vision of CAA’s publications.
Any member may self-nominate for the following positions or (after ascertaining interest) nominate another member. For more information, please click on the links below. You may apply for more than one position. The deadline for all applications is April 15, 2021. Terms of service vary, but they all begin July 1, 2021.
The Art Bulletin: 2 Editorial Board members
The Art Bulletin: Editor(s)-in-Chief
Art Journal/AJO: 1 Editorial Board member
Art Journal: Reviews Editor
caa.reviews: 2 Editorial Board members
caa.reviews Council of Field Editors: 7 openings
Early Modern European Art (North)
Latin American Art
Exhibitions New York
Exhibitions Northwest US
Exhibitions Southeast US
posted by Allison Walters — January 13, 2021
Usually when I sit down to write the introduction to a forthcoming issue of Art Journal, I am pleasantly surprised to find intrinsicconnections between the work we do as artists, historians, and critics. In past issues we have learned to look differently, to take matters personally, and to think in the present tense. And somehow we have done all this against an evolving (and often terrifying) backdrop of political, economic, social, environmental, and health crises. As I write this essay in early October, the pressure of reality—including the upcoming US presidential election—has made it difficult for many of us to orient ourselves to our research and creative practices. But, at the same time, the urgency of this work has never seemed more real.
In 2015 Toni Morrison wrote an essay for The Nation that, in part, framed her own feelings of helplessness in times of political and social turmoil. These days I find myself turning to these words again and again:
This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.
I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge—even wisdom. Like art.
And so we must keep writing, making, and teaching. We must try to cultivate wisdom instead of succumbing to despair.
With Morrison’s mandate in mind I introduce this special edition of Art Journal: an issue centered on Blackness. The ideas represented here have been carefully brought into an intentional conversation around the experiences, expressions, and theorizations of Blackness. We have artist projects by two Black women—Allison Janae Hamilton and Chanell Stone—and all the book and exhibition reviews center on works by and about Black artists (thanks to the tireless effort of our reviews editor, Mechtild Widrich). The feature essays reorient our attention to artists—Mark Bradford, Samuel Levi Jones, Glenn Ligon, Howardena Pindell, Jack Whitten—who explore the histories, sensations, and consequences of Blackness in their work.
As argued so compellingly by Leigh Raiford in her essay, “Our work is to recognize how white supremacy functions as a way of seeing that any person of any race or positionally can work to undo.” I hope that in editing the first issue of Art Journal to focus exclusively on Blackness, I have provided a counterweight to the ideology of white supremacy that has infected our political landscape in the United States and (in so many ways) the history of art itself. As we mourn the murders of Ahmaud Arbery, Breonna Taylor, and George Floyd and the deaths of thousands from COVID-19, let us also work toward the new future and find meaning in the chaos.
– Jordana Moore Saggese
The entire issue of Art Journal Winter 2020 is free to read through March 31, 2021.
posted by CAA — October 01, 2020
We’re pleased to announce the appointment of three new editors for CAA publications: editor designate Eddie Chambers, who will take up his post as Editor-in-Chief of Art Journal, July 2021 – June 2024; Julie Nelson Davis, current Editor-in-Chief of caa.reviews, July 2020 – June 2023; and editor designate Stephanie Porras, who will take up her post as Reviews Editor of The Art Bulletin, July 2021 – June 2024. Learn more about their work below.
Eddie Chambers | Incoming Editor-in-Chief of Art Journal, July 2021 – June 2024
Eddie Chambers was born in Wolverhampton, England. He gained his PhD from Goldsmiths College, University of London in 1998, for his study of press and other responses to the work of a new generation of Black artists in Britain, active during the 1980s. He joined the Department of Art and Art History at the University of Texas at Austin in January 2010 where he is now a Professor. His books include Things Done Change: The Cultural Politics of Recent Black Artists in Britain (Rodopi Editions, Amsterdam and New York, 2012), Black Artists in British Art: A History Since the 1950s, (I. B. Tauris, London and New York, 2014, reissued 2015), and Roots & Culture: Cultural Politics in the Making of Black Britain, published 2017 (I. B. Tauris/Bloomsbury). He is the editor of the recently-published Routledge Companion to African American Art History. His forthcoming book is World is Africa: Writings on Diaspora Art (Bloomsbury, 2021).
Julie Nelson Davis | Current Editor-in-Chief of caa.reviews, July 2020 – June 2023
Julie Nelson Davis is Professor of the History of Modern Asian Art at the University of Pennsylvania. Recognized as one of the world’s foremost authorities on Japanese prints and illustrated books, Davis teaches a wide range of courses on East Asian art and material culture in the greater global context. After receiving her BA from Reed College, Davis completed her MA and PhD from the University of Washington and studied at Gakushūin University in Tokyo. She is author of Utamaro and the Spectacle of Beauty (Reaktion Books, 2007 and 2021), Partners in Print: Artistic Collaboration and the Ukiyo-e Market (University of Hawai’i Press, 2015), and Picturing the Floating World: Ukiyo-e in Context (in press). Davis was recently a guest curator for the Freer and Sackler Galleries for an exhibition on Utamaro (2017) and is preparing an exhibition of Japanese illustrated books at the University of Pennsylvania. She is currently working on a new project on issues of imitation, homage, and fakery in early modern Japanese art and their legacies into the present. In addition to her tenure as caa.reviews Editor-in-Chief from 2020 to 2023, Davis served as the field editor for Japanese art from 2001 to 2010 and a board member from 2007 to 2011.
Stephanie Porras | Incoming Reviews Editor of The Art Bulletin, July 2021 – June 2024
Stephanie Porras is Associate professor of Art History in the Newcomb Art Department at Tulane University, specializing in early modern art made in Northern Europe and across the Spanish world. Author of Pieter Bruegel’s Historical Imagination (Pennsylvania State University Press, 2016) and Northern Renaissance Art: Courts, Commerce, Devotion (Laurence King, 2018), Porras has also published widely on topics ranging from Albrecht Dürer’s drawings to Hispano-Philippine ivories. Her current book project, The First Viral Images considers the mobility of early modern artworks and their role in processes of globalization, and has been supported by fellowships at the New York Public Library, the Sterling and Francine Clark Art Institute, and the Center for Advanced Study in the Visual Arts at the National Gallery of Art.
posted by CAA — January 27, 2020
Each spring, members have the opportunity to provide crucial service to the field and gain an inside view by volunteering to work on a CAA committee or editorial board.
Any member may self-nominate for the following positions or (after ascertaining interest) nominate another member. For more information, please click on the links below.
Deadline (extended): June 1, 2020
caa.reviews—Field Editor for East Asian Art
Deadline (extended): June 1, 2020
Publications Committee—Two Members
Deadline (extended): June 1, 2020
Art Journal / Art Journal Open (AJO) Editorial Board—Three Members
Deadline: April 15, 2020
The Art Bulletin Editorial Board—One Member
Deadline: April 15, 2020
The Art Bulletin—One Reviews Editor or Coeditor Team
Deadline: April 15, 2020
caa.reviews Editorial Board—Three Members (One an Emerging Professional)
Deadline: April 15, 2020
caa.reviews—Eight Field Editors
African Art, African Diaspora/African American Art, Architecture and Urban Planning, Asian Art, Contemporary Art, Exhibitions: East Coast, Exhibitions: Midwest, Exhibitions: West Coast
Deadline: April 15, 2020
posted by CAA — November 11, 2019
CAA invites nominations and self-nominations for two individuals to serve on the Art Journal / AJO Editorial Board for a three-and-one-half-year term: January 1, 2020–June 30, 2023 Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture. AJO is an online forum for the visual arts that presents artists’ projects, conversations and interviews, scholarly essays, and other forms of original content. Committed to fostering new intellectual exchanges in the fields of modern and contemporary art, AJO prioritizes material that makes meaningful use of the web and publishes on a rolling basis.
The editorial board advises the Art Journal and AJO editors-in-chief and assists them in seeking authors, articles, artists’ projects, and other content for the journal; performs peer review and recommends peer reviewers; guides the journals’ editorial programs and may propose new initiatives for them; promotes and advocates for both journals; and may support fundraising efforts on their behalf. Members also assist the editors-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, exhibitions, and events.
The Art Journal / AJO Editorial Board meets three times a year, with meetings in the spring and fall plus one at the CAA Annual Conference in February. The fall and spring meetings are currently held by teleconference. Members are expected to pay travel and lodging expenses to attend the conference in February. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members in good standing and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journals during the term of service. CAA encourages applications from colleagues who will contribute to the diversity of perspectives on the Art Journal / AJO Editorial Board and who will engage actively with conversations about the discipline’s engagements with differences of culture, religion, nationality, race, gender, sexuality, and access. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your or your nominee’s interest in and qualifications for appointment, a CV, and your contact information to Joan Strasbaugh, Managing Editor, at JStrasbaugh@collegeart.org or c/o CAA, 50 Broadway, 21st floor, New York, NY 10004.
Deadline: Sunday, December 8, 2019
In celebration of Indigenous Peoples’ Day we have brought out from behind the paywall two issues of Art Journal in their entirety: our Summer 2017 issue on Indigenous Futures, (featuring Postcommodity’s Repellent Fence on the cover) and our Fall 1992 issue on Recent Native American Art. Articles from each will be open access until the end of October.
posted by CAA — June 13, 2019
In commemoration of the 50th anniversary of the Stonewall Riots and in celebration of Pride Month, we’ve made a collection of articles from Art Journal and The Art Bulletin focused on LGBTQ+ histories and perspectives free to read and explore online.
These articles will remain open access on Taylor & Francis through August 31, 2019.
We wish to thank Edward Rossa, CAA Summer 2018 intern, for his research on this archive.
|Things are Queer||Jonathan Weinberg||Volume 55/Issue 4/1996|
|Making Trouble for Art History: The Queer Case of Girodet||James Smalls||Volume 55/Issue 4/1996|
|Imminent Domain: Queer Space in the Built Environment||Christopher Reed||Volume 55/Issue 4/1996|
|Goodbye Lesbian/Gay History Hello Queer Sensibility||Robert Atkins||Volume 55/Issue 4/1996|
|Unmasking Pablo’s Gertrude: Queer Desire and the Subject of Portraiture||Robert S. Lubar||Volume 79/Issue 1/1997|
|Biblical Gender Bending in Harlem: The Queer Performance of Nugent’s Salome||Ellen McBreen||Volume 57/Issue 3/1998|
|The Melancholia of AIDS: Interview with Douglas Crimp||Tina Takemoto||Volume 62/Issue 4/2003|
|Love Among the Ruins: David Cannon Dashiell’s Queer Mysteries||Alison Mairi Syme||Volume 63/Issue 4/2004|
|Robert Rauschenberg’s Queer Modernism: The Early Combines and Decoration||Tom Folland||Volume 92/Issue 4/2010|
|Conversations on Queer Affect and Queer Archives||Tirza True Latimer||Volume 72/Issue 2/2013|
|Imaginary Archives: A Dialogue||Julia Bryan-Wilson & Cheryl Dunye||Volume 72/Issue 2/2013|
|Queer Pier: 40 Years||Thomas J. Lax, Jeannine Tang, A. Naomi Jackson, Parallel Lines, Ginger Brooks Takahashi & Marvin J. Taylor||Volume 72/Issue 2/2013|
|Queer Formalisms: Jennifer Doyle and David Getsy in Conversation||Jennifer Doyle & David J. Getsy||Volume 72/Issue 4/2013|
|Why I Hate Diversity||Jonathan D. Katz||Volume 76/Issue 3-4/2017|
|Reading Jack Smith’s The Beautiful Book Reparatively||Paisid Aramphongphan||Volume 78/Issue 1/2019|
posted by CAA — May 21, 2019
Jordana Moore Saggese is an Associate Professor of American Art at the University of Maryland, College Park and the current Editor-in-Chief of Art Journal, CAA’s publication focused on twentieth- and twenty-first-century art history. Trained as an art historian, Saggese’s work focuses on modern and contemporary art with an emphasis on the expressions and theorizations of blackness. She was previously Associate Professor of Contemporary Art & Theory at California College of the Arts.
Joelle Te Paske, CAA Media and Content Manager, corresponded with her this month to learn about how she came to do the work she does, and her aspirations for the journal and the field beyond.
Joelle Te Paske: Thanks for taking the time for our interview, Jordana. So to begin, where are you from originally? What pathways led you to the work you’re doing now?
Jordana Moore Saggese: I am originally from Nashville, Tennessee. I attended Vanderbilt University, as a first-generation college student, for my undergraduate degree, and fell into an art history major at the very last moment. In fact, the summer before my senior year I suddenly realized that every opportunity I had to take an elective unit during my time at Vanderbilt I had chosen an art history class. The art history classes I took with my mentor Leonard Folgarait were truly inspiring. He encouraged his students (even those like me, who had very little knowledge of art history) to consider the work of artists as a response to the values and ideas of society, which in turn are determined by historical conditions. I can still remember his lecture on Dada, which was really the turning point for me. It was at that moment that I realized art was not something meant only for the elite; art could also be a form of rebellion. Although I had never been inside an art museum before my time as an undergraduate, Dr. Folgarait, and other faculty there, encouraged me and asked me to think deeply about the stakes of representation and introduced me to a range of objects across multiple continents and chronologies. With their encouragement, I decided to declare a major in art history and apply for graduate school my senior year.
This meant that I had to take the two-semester survey course as a senior, which fundamentally shifted the way I think about teaching those courses.
I can still remember my shock, sitting in a huge lecture hall, listening to someone drone on about a mostly white, male, heterosexist art history. I was wholly unprepared to memorize a seemingly endless stream of images. I finished the courses but this was not the art history that I was used to. That experience, of coming in almost backwards to the discipline, highlighted two main issues that still impact my teaching and research today.
First, how can we give students the very best introduction to the discipline—one that reflects the deep inquiry and the collaboration that was so intrinsic to my experience in the upper-division courses?
And second, whose art history are we teaching? That is, to what extent has a colonialist logic pervaded much of modern art history and what can I do—in my teaching and research—to undo that logic? I have been acutely aware of the ways in which art history has tended to exclude diverse perspectives and histories and much of my own work involves complicating those dominant narratives.
JTP: I love these questions as a fundamental starting point—not supplement—to the question of teaching art history. You were previously on the faculty at the California College of the Arts, and are now at University of Maryland, College Park. How has the transition been?
JMS: Teaching at an art school for the first ten years of my career was a wonderful experience in that it gave me direct and constant access to working artists. Thanks to my colleagues I was able to stay current in the field—a challenge for any historian of contemporary art—and my students constantly challenged me to make the history of art come into real time and space. CCA was also a site of experimentation, where students and faculty were willing to challenge one another, to wrestle openly with difficulty, and to fail. I have tried to bring those values to my teaching at Maryland as well. I have found the students and faculty at College Park to be deeply invested in their individual fields of interest but also in the discipline as a whole. There has also been tremendous support for my research practice, which has been a great benefit to making this transition.
JTP: As a Basquiat scholar, what is something you wish more people know about the artist?
JMS: I wish that more people considered the extent to which Basquiat’s celebrity status has threatened to eclipse his critical significance. My main project has been, and continues to be, writing this artist into the history of American art. I would also add that working on Basquiat presents extreme challenges for a researcher. There is no public archive of his work and approximately 85-90% of the paintings and drawings are in private collections (and I might mention, constantly being sold). This means that in order to see the works, one must shake a lot of hands, charm a lot of people, and knock on lots of doors. Working on Basquiat requires a thick skin, as I am often embroiled in territorial battles or even ignored. I also spend a lot of money traveling to see exhibitions so that I might glimpse the works in person. So, it’s not your typical research project!
JTP: I can only imagine the challenges that presents in pushing research forward—it’s far from a straightforward dive into the archives. What are you working on currently?
JMS: My second book, The Basquiat Reader: A Critical Anthology will be published by the University of California Press in 2020. The Basquiat Reader is a comprehensive sourcebook on Basquiat for both general audiences and advanced readers. Through a combination of interviews with the artist, criticism from the artist’s lifetime and immediately after, previously unpublished research by me, and a selection of the most important critical essays on the artist’s work, The Basquiat Reader provides a full picture of the artist’s views on art and culture, his working process, as well as the critical significance of his work both then and now. It is my hope that by giving more people access to the primary sources, we will see more scholarship on this artist.
My new book project considers representations of black male athletes as a point of entry to thinking about how black men have historically been presented to (and positioned by) the white mainstream public as a fear/fantasy. More specifically, I examine the ways in which black masculinity is constructed in the visual realm, and how the black athletic body can shape the moral, physical, and social position of African American men more broadly. Over five chapters I analyze key moments in the history of the sport, prominent black athletes and their representation in the American popular press and visual art.
JTP: That is such important work, especially as those constructions persist and accelerate in contemporary visual culture. What are your hopes for Art Journal during your tenure?
JMS: During my tenure I would like to continue to build on the global reach of the publication—in terms of both content and readership. I mean global here as something more than a keyword to signal “diversity.” I use global to signal an interconnected conversation between Europe, Asia, Africa, Latin America, South America, the Pacific—rather than a series of isolated references to an “other.” I want to think of how the perspective of modern and contemporary art from Mumbai or even Beijing connects to as well as lives separate from the touch-points of America and Europe. This is something that I began to explore in my edited forum, “Diversity and Difference,” published in Art Journal in 2016—that is, how can we think beyond the paradigm of margins and center?
I am also hoping to increase a direct engagement of artist members via the introduction of new features, such as “Object Lessons,” which will first appear in Fall 2019. This is an opportunity for artists to consider a specific object of visual culture that has directly impacted or influenced their own practice. I am also increasing the diversity of artists that we publish in Art Journal. For example, every artist project for issues published in 2019 was developed by a woman of color.
Finally, I want to highlight the role of the journal as a forum for professional conversations. Readers can expect to see short essays on fair use, censorship, and the white supremacist logic of art history—topics that typically are buried in whispers. I see Art Journal as a place where these difficult conversations and issues come to light. Many readers of Art Journal are also teachers, and I hope to bring more focus to issues of pedagogy over the coming years of my tenure as Editor-in-Chief.
JTP: It’s exciting to see the direction you are bringing to it. What are some of your other arts-related recommendations at the moment?
JMS: I have really enjoyed seeing the conversation around #POCarthistory (started by Ananda Cohen-Aponte [who recently took over CAA’s Instagram]) develop on Twitter over the last months. As someone interested in our current moment I am constantly reading Hyperallergic and I have found the resources on the website of the Association for Critical Race Art History very important to my own pedagogical development. I am currently reading The Painter’s Touch by Ewa Lajer-Burcharth.
JTP: Do you have a favorite exhibition you’ve seen recently?
JMS: This year I really enjoyed the shows by Jack Whitten (Met Breuer) and Nari Ward (New Museum), but I am still reeling from the show of new paintings by Lynette Yiadom-Boakye (Under-Song for a Cipher), which I saw at the New Museum two years ago. That show left me speechless.
The Spring 2019 issue of Art Journal is now online.
Not a CAA member? Join today and begin exploring immediately.
Print copies of the Summer 2018 issue of Art Journal will arrive in mailboxes this week.
In This Issue
Rebecca M. Brown
The Pull of Unseen Forces: Stages of BODYWARP
More than Meets the Eye: Embodied Engagement with After the Last Supper
Extinct?—An Art Intervention by Ravi Agarwal in Delhi
Reading Tatlin’s Tower in Socialist Cuba
Krista Thompson ●
“I WAS HERE BUT I DISAPEAR”: Ivanhoe “Rhygin” Martin and Photographic Disappearance in Jamaica
Bridget R. Cooks on Kellie Jones, South of Pico: African American Artists in Los Angeles in the 1960s and 1970s; Dominic Johnson on Karen Gonzalez Rice, Long Suffering: American Endurance Art as Prophetic Witness; Dina A. Ramadan on Sam Bardaouil, Surrealism in Egypt: Modernism and the Art and Liberty Group; Ella Maria Diaz on Karen Mary Davalos, Chicana/o Remix: Art and Errata since the Sixties
Advanced Analytics for a Better University
posted by CAA — May 15, 2018
“Proposition Avant-Garde: A View from the South,” by Geeta Kapur, the distinguished art critic, challenges readers of Art Journal to reconsider, reclaim, and rethink the idea of the avant-garde. The text by the Delhi–based Kapur appears for the first time in the Spring 2018 issue of the journal, along with responses from the scholars Saloni Mathur and Rachel Weiss.
Also featured in the recently published issue are two projects by artists whose works provide illusions of motion. For The Virtual Immigrant, Annu Palakunnathu Matthew created a flip-motion lenticular card, inserted in each copy of the journal, which reveals two interlaced portraits of a young call center worker in India, one image in the casual Western address she wears at work, where she speaks in an acquired American accent, the other in the traditional Indian clothing she wears on more formal occasions. Matthew’s project features multiple portraits of three other call center workers; by calling a toll-free number (844-984-7882) on the back of the card, readers can hear short recordings in which the workers speak about the two cultures they inhabit in the course of their lives.
In his project Material Motion, Eric Dyer exhibits works from the last dozen years based on the zoetrope, a form of animation devised in the nineteenth century. Stills featured on the cover and interior pages of the journal show the evolution of the idea in the artist’s hands, first in spinning sculptures that reveal dozens of tiny animated details—cyclists zooming through an urban landscape; umbrellas furling, unfurling, and passing through rows of people and other umbrellas. Dyer further extended the zoetrope principle in numerous other animated pieces, including two DIY pieces that Art Journal readers can complete with a record turntable and a smartphone app.
The issue features three long-form scholarly essays: the curator Luigia Lonardelli on the unfolding of the 1973 Contemporanea, a massive multidisciplinary exhibition staged in an underground parking lot in Rome; Nika Elder on the repeated appearance of a seemingly simple shift dress in the 1980s–90s photographs of Lorna Simpson, a garment closely examined here for the first time; and Steven Jacobs on a 1960 film by Luc de Heusch in which René Magritte extended his artistic project through cinematic means, gnomically restaging some of his best-known paintings in his home.
The Reviews section opens with Joe Madura’s assessment of the exhibition and catalogue for Art, AIDS, America, with a special focus on the final iteration of the traveling show in Chicago. The section continues with reviews of Amy Bryzgel’s Performance Art in Eastern Europe (reviewed by Adair Rounthwaite), Jenni Sorkin’s Live Form: Women, Ceramics, and Community (by Glenn Adamson), and Jane McFadden’s Walter De Maria: Meaningless Work (by Amanda Boetzkes).
CAA sends print copies of Art Journal to all institutional members and to those individuals who choose to receive the journal as a benefit of membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members regardless of their print subscription choice.