CAA News

Registrants for the 2012 Annual Conference in Los Angeles can now download Abstracts 2012. This publication, available as a PDF, summarizes the contents of hundreds of papers and talks that will be presented in program sessions.

Reading the abstracts in advance can help you plan your daily schedule at the conference. Program sessions are alphabetized by the chair’s last name and appear in the contents pages (4–10). An index in the back of the publication names all the speakers. Alternatively, use your Adobe Reader to conduct a keyword search for terms relevant to your interests.

After conference registrants log into their CAA account, they can click the “Abstracts 2012” image in the middle of the screen to download the PDF (1.9 MB). Abstracts 2012 is part of the registration package; there is no added cost to paid or complimentary registrants for this publication.

Conference attendees who purchase single-time slot tickets, or those who want Abstracts 2012 but are not coming to Los Angeles, may attain the document for a charge: $30 for CAA members and $35 for nonmembers. Abstracts 2012 will remain on the CAA website for download or sale through July 31, 2012.

Beginning with the 2010 conference in Chicago, CAA offers its Abstracts exclusively as a PDF download. Past issues of the printed publication from 1999 to 2009 are also available. The cost per copy is $30 for CAA members and $35 for nonmembers. For more information and to order, please contact Roberta Lawson, CAA office coordinator.

 

caa.reviews invites nominations and self-nominations for six individuals to join its Council of Field Editors, which commissions reviews within an area of expertise or geographic region, for a three-year term: July 1, 2012–June 30, 2015. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to art history, visual studies, and the arts.

The journal seeks three field editors for books in contemporary art, Iberian and colonial Latin American art, and Precolumbian art. Two field editors are needed to commission reviews of exhibitions in the Midwest and Southeast, covering the art of all periods, and one field editor for exhibitions on the West Coast covering art before 1800. Candidates may be artists, art historians, critics, curators, or other professionals in the visual arts; institutional affiliation is not required.

Working with the caa.reviews editor-in-chief, the caa.reviews Editorial Board, and CAA’s staff editor, each field editor selects content to be reviewed, commissions reviewers, and reviews manuscripts for publication. Field editors for books are expected to keep abreast of newly published and important books and related media in his or her field of expertise, and those for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions. The Council of Field Editors meets annually at the CAA Annual Conference. Field editors must pay travel and lodging expenses to attend the conference.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 25, 2012.

Updated on March 26, 2012.

Art Bulletin Editorial Board Seeks One Member

CAA invites nominations and self-nominations for one individual to serve on the Art Bulletin Editorial Board for a four-year term, July 1, 2012–June 30, 2016. The ideal candidate has published substantially in the field and may be an academic, museum-based, or independent scholar; institutional affiliation is not required. The Art Bulletin features leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions.

The editorial board advises the Art Bulletin editor-in-chief and assists him or her to seek authors, articles, and other content for the journal; guides its editorial program and may propose new initiatives for it; performs peer review and recommends peer reviewers; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-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, and other events in their fields.

The Art Bulletin Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.

Candidates must be current CAA members 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 journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Bulletin Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 16, 2012.

Art Journal Editorial Board Seeks Two Members

CAA invites nominations and self-nominations for two individuals to serve on the Art Journal Editorial Board for a four-year term: July 1, 2012–June 30, 2016. A candidate may be an artist, art historian, art critic, art educator, curator, or other art professional; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.

The editorial board advises the Art Journal editor-in-chief and assists him or her to seek authors, articles, artist’s projects, and other content for the journal; guides its editorial program and may propose new initiatives for it; performs peer review and recommends peer reviewers; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-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, and other events in their fields.

The Art Journal Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.

Candidates must be current CAA members 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 journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Journal Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 16, 2012.

caa.reviews Editorial Board Seeks One Member

CAA invites nominations and self-nominations for one individual to serve on the caa.reviews Editorial Board for a four-year term, July 1, 2012–June 30, 2016. Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals with stature in the field and experience in writing or editing book and/or exhibition reviews; institutional affiliation is not required. The journal also seeks candidates with a strong record of scholarship and at least one published book or the equivalent who is committed to the imaginative development of caa.reviews. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to the fields of art history, visual studies, and the arts.

The editorial board advises the editor-in-chief of and field editors for caa.reviews and helps them to identify books and exhibitions for review and to solicit reviewers, articles, and other content for the journal; guides its editorial program and may propose new initiatives for it; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-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, and other events in their fields.

The caa.reviews Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 16, 2012.

Updated on March 6 and 13, 2012.

The Art Bulletin Editorial Board invites nominations and self-nominations for the position of editor-in-chief for a three-year term: July 1, 2013–June 30, 2016 (with service as incoming editor designate, July 1, 2012–June 30, 2013). Candidates should have published substantially in the field and may be an academic, museum-based, or independent scholar; institutional affiliation is not required. The Art Bulletin features leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions. From its founding in 1913, the quarterly journal has published, through rigorous peer review, scholarly articles and critical reviews of the highest quality in all areas and periods of the history of art.

Working with the editorial board, the editor-in-chief is responsible for the content and character of the journal. Each issue has approximately 150 editorial pages (135,000 words), not including book and exhibition reviews, which are the responsibility of the reviews editor. The editor-in-chief reads all submitted manuscripts, refers them to appropriate expert referees for peer review, provides guidance to authors concerning the form and content of submissions, and makes final decisions regarding acceptance or rejection of articles for publication. The editor-in-chief also works closely with the CAA staff in New York, where production for The Art Bulletin is organized. This is a half-time position. CAA provides financial compensation to the editor’s institution, usually in the form of course release or the equivalent, for three years. The editor is not usually compensated directly. The three-year term includes membership on the Art Bulletin Editorial Board.

The editor-in-chief attends the Art Bulletin Editorial Board’s three meetings each year—held twice in New York in the spring and fall and once at the CAA Annual Conference in February—and submits an annual report to the CAA Board of Directors. CAA reimburses the editor-in-chief for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but the editor-in-chief pays these expenses to attend the conference.

Candidates must be current CAA members 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 journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, at least one letter of recommendation, and your contact information to: Chair, Art Bulletin Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Joe Hannan, CAA codirector of publications. Deadline: April 10, 2012; finalists will be interviewed in early May.

Updated on March 16, 2012.

The Fall 2011 issue of Art Journal, CAA’s quarterly of modern and contemporary art, was published and mailed in late December. A benefit of CAA membership, the journal is sent to those individual members who elect to receive it and to all institutional members.

The issue opens with a state-of-the-field essay by Krista Thompson, “A Sidelong Glance: The Practice of African Diaspora Art History in the United States.” The third of four Centennial essays commissioned with funds from the Andy Warhol Foundation for the Visual Arts, Thompson’s study offers an extraordinary range of reference and comprehensive citations that suggest it will be highly useful to historians, students, and artists alike. The art historian Amelia Jones organized a forum for the issue, “Performance, Live or Dead,” with texts by the artists Ron Athey, Sharon Hayes, and William Pope.L, the historians Sven Lütticken and Branislav Jakovljević, and the curators Sophia Yadong Hao and Helena Reckitt. Each writer considers the phenomenon of reenactment, which has been prominent in the performance art of recent years.

The cover essay, Miwako Tezuka’s “Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji,” examines the 1955 collaboration of vanguard visual and performing artists in Tokyo on a staging of Arnold Schoenberg’s song cycle Pierrot Lunaire. Tezuka sees the production, little known in the West until now, as a major catalyst in the reinvigoration of new arts following destitution and stagnation in postwar Japan.

A final feature considers broadcast radio as a medium for public art. Sarah Kanouse’s “Take It to the Air: Radio as Public Art” explores works by Jon Brumit, Ricardo Miranda Zuñiga, and the collective LIGNA to emphasize the surprising ways in which they treat radio as a participatory, two-way medium. The Art Journal website includes audio and video documentation that complements the printed piece.

The Reviews section includes Lisa Florman’s assessment of the Guggenheim exhibition catalogue Chaos and Classicism: Art in France, Italy, and Germany, 1918–36; Jaleh Mansoor on Rosalyn Deutsch’s Hiroshima after Iraq: Three Studies in Art and War; and Lara Weibgen’s analysis of Boris Groys’s History Becomes Firm: Moscow Conceptualism. Available both in print and online is Robert Slifkin’s review of two recent books and an exhibition on the artist Paul Thek.

CAA has awarded grants to the publishers of thirteen books in art history and visual culture through two programs: the Millard Meiss Publication Fund and the Wyeth Foundation for American Art Publication Grant.

Meiss Grants Winners

This fall, CAA awarded grants to the publishers of eight books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.

The eight grantees for fall 2011 are:

• Esra Akcan, Architecture in Translation: Germany, Turkey, and the Modern House, Duke University Press
• Helen Hills, The Matter of Miracles: Forms of Holiness in Baroque Naples, Manchester University Press
• Paul B. Jaskot, The Nazi Perpetrator and Postwar German Art, University of Minnesota Press
• Jacqueline Jung, The Gothic Screen: Sculpture, Space, and the Community in the Cathedrals of France and Germany, 1200–1400, Cambridge University Press
• Jinah Kim, Receptacle of the Sacred: Illustrated Manuscripts and the Buddhist Book Cult in South Asia, University of California Press
• Mary Quinlan-McGrath, Influences—From the Orb of the Universe to the Orb of the Eye: Astrology and Art in the Italian Renaissance, University of Chicago Press
• Hanna Rose Shell, Hide and Seek: Camouflage, Animal Skin, and the Media of Reconnaissance, Zone Books
• Charlotte Townsend-Gault, Northwest Coast Native Art: The History of an Idea, University of British Columbia Press

Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors must be current CAA members. Please review the application guidelines for more information. The deadline for the spring 2012 grant cycle is March 1, 2012.

Wyeth Grant Winners

CAA is pleased to announce five recipients of the annual Wyeth Foundation for American Art Publication Grant. Thanks to a second generous three-year grant from the Wyeth Foundation, these awards are given annually to publishers to support the publication of one or more book-length scholarly manuscripts in the history of American art, visual studies, and related subjects.

Receiving 2011 grants are:

• Amanda Carlson and Robin Poynor, Africa in Florida: 500 Years of African Presence in the Sunshine State, University Press of Florida
• Mary Coffey, Mexican Muralism and the “Philanthropic Ogre”: How a Revolutionary Art Became Official Culture, Duke University Press
• Mónica Domínguez Torres, Military Ethos and Visual Culture in Post-Conquest Mexico, Ashgate
• Tatiana Flores, From Estridentismo to ¡30-30!: The Historical Avant-Gardes of Post-Revolutionary Mexico, Yale University Press
• Sue Rainey, Harry Fenn’s Career in Art: Creating a World on Paper, University of Massachusetts Press

For the purpose of this program, “American art” is defined as art created in the United States, Canada, and Mexico prior to 1970. Books eligible for a Wyeth grant must already be under contract with a publisher. Authors must be current CAA members. Please review the application guidelines for more information. The deadline for the 2012 grant cycle is October 1, 2012.

The December 2011 issue of The Art Bulletin, the leading publication of international art-historical scholarship, features essays on the portraiture of nuns in colonial Mexico, the sociological context of Katsushika Hokusai’s famous print Under the Wave off Kanagawa, and Federico Zuccari’s painting The Encounter of Christ and Veronica on the Way to Calvary.

The December issue publishes four essays on diverse topics. For “Inventing the Exegetical Stained-Glass Window,” Conrad Rudolph studies the reintroduction of allegory in an art program established by Abbot Suger in the twelfth century for St-Denis in France, finding that it culminated in the construction of a new elite art for the literate layperson. In “Ancient Prototypes Reinstated,” Livia Stoenescu demonstrates the self-conscious medievialism in Zuccari’s painting The Encounter of Christ and Veronica on the Way to Calvary (1594) and the artist’s intention of inscribing its narrative within a Christocentric image. In “Clad in Flowers: Indigenous Arts and Knowledge in Colonial Mexican Convents,” James M. Córdova examines the flowery trappings depicted in seventeenth- and eighteenth-century portraits of nuns in New Spain. For her essay, Christine M. E. Guth explores the sociocultural context of Hokusai’s Under the Wave off Kanagawa (ca. 1830–33) to reveal it as a site for Japan’s shifting geopolitical circumstances between the 1790s and the 1860s.

In the Reviews section, two writers consider three books on the history of Asian art. Douglas Osto explores Buddhist visual culture through Andy Rotman’s Thus Have I Seen: Visualizing Faith in Early Indian Buddhism and Cynthea J. Bogel’s With a Single Glance: Buddhist Icon and Early Mikkyō Vison, and Melanie Trede evaluates Alicia Volk’s In Pursuit of Universalism: Yorozu Tetsugorō and Japanese Modern Art. Bissera V. Pentcheva considers acoustics and architecture in Deborah Howard and Laura Moretti’s Sound and Space in Renaissance Venice: Architecture, Music, Acoustics, while Étienne P. H. Jollet reviews Frank Fehrenbach’s study of Roman Baroque fountains, Compendia Mundi: Gianlorenzo Berninis “Fontana dei Quattro Fiumi” (1648–51) und Nicola Salvis “Fontana di Trevi” (1732–62). Gregory Batchen offers a take on national histories of photography through two recent books: Maria Golia’s Photography and Egypt and Karen Strassler’s Refracted Visions: Popular Photography and National Modernity in Java.

Please see the full table of contents for December to learn more. CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership.

The next issue of The Art Bulletin, to be published in March 2012, will include essays on the Zen monk painter Sesshū Tōyō, the art of Henri Fuseli, the “biography” of a statute sculpted in or near the Lagoon region of Ivory Coast. The issue also inaugurates a new feature, “Regarding Art and Art History,” comprising field notes on the topic of anthropomorphism by various authors and a critical essay on the interview format, followed by a conversation between Hans Ulrich Obrist and Philip Ursprung.

This week CAA will begin mailing Conference Information and Registration, which provides important details, deadlines, and directions for attending the 100th Annual Conference in Los Angeles, to all individual and institutional CAA members. Nonmembers and those wanting a digital file now can download a PDF of the booklet. The conference, taking place February 22–25, 2012, concludes CAA’s Centennial year.

Following sections on registration and CAA membership, Conference Information and Registration describes travel, lodging, and transportation and explains the basic processes for candidates seeking jobs and employers placing classifieds and renting interview booths. In addition, the publication lists topics for nine professional-development workshops. If you want to connect with former and current professors and students, consult the Reunions and Receptions page. The booklet includes paper forms for CAA membership, conference registration, workshops, special events, and mentoring enrollment.

The contents of Conference Information and Registration also appear on the conference website, which is being updated regularly between now and the February meeting. You may also choose to join CAA and register online.

The information on this page has been updated. Please visit the main directories page for the most up-to-date information.

This fall CAA will publish new editions of Graduate Programs in Art History and Graduate Programs in the Visual Arts. As comprehensive resources of schools across the United States, Canada, the United Kingdom, Australia, and New Zealand, the guides list over 650 programs in fine art and design, art and architectural history, curatorial studies, arts administration, and more.

Prospective graduate students will find everything they need to know before beginning the application process. The directories are also key professional references for career-services representatives, department chairs, graduate and undergraduate advisors, librarians, professional-practices educators, and professors interested in helping emerging generations of artists and scholars find success.

Graduate Programs in Art History covers four disciplines: Art History, Curatorial and Museum Studies, Arts Administration, and Library Science. This directory integrates programs in visual studies and architectural history into Art History. Similarly, Graduate Programs in the Visual Arts comprises four areas: Studio Art and Design, Art Education, Film Production, and Conservation and Historic Preservation. Studio Art and Design combines programs in fine art with those in graphic, industrial, and object design.

Organized alphabetically by school name within each discipline noted above, entries describe curricula, class size, faculty specializations, admission and degree requirements, library and studio facilities, opportunities for fellowships and assistantships, and more. Readers can draw important conclusions from these facts, such as the competitiveness of a program based on the amount of applications received and accepted. Need health insurance or housing while in school? Many programs provide details about what they offer.

The directories are available in multiple print and digital formats, as books, ebooks, and downloadable PDFs. The complete volumes of each directory are only available in print.

Print

The complete Graduate Programs in Art History and Graduate Programs in the Visual Arts cost $41 each for CAA members and $51 for nonmembers, plus shipping and handling.

You can also order all entries within five of the eight disciplines as discrete perfect-bound, soft-cover books. The prices below do not include shipping and handling:

Art History: $22
Art Education: $18
Curatorial and Museums Studies: $16
Film Production: $15

The three remaining disciplines—Arts Administration, Library Science, and Conservation and Historic Preservation—are available only as ebooks and cannot be ordered as discipline-specific books.

Individuals can order both directories and the discipline-specific books through the CAA website (link forthcoming). If you are ordering for a school, institution, or department within a college or university, please download the PDF form (forthcoming) and return the completed version with payment to Roberta Lawson, CAA office coordinator, who will ship the directories to you within two business days of your purchase.

Ebooks

All entries within a particular discipline may be ordered as single ebooks. After placing your order on the CAA website, you will receive an email with a link(s) to the ebook(s). Each ebook can be downloaded a limited number of times and will be compatible with your personal computer and most smart phones and ereaders (excluding Kindles).

You can also order all entries within five of the eight disciplines as ebooks:

Art History: $22
Art Education: $18
Curatorial and Museums Studies: $16
Film Production: $15
Studio Art and Design: $26

Ebooks of all entries in Arts Administration, Library Science, and Conservation and Historic Preservation are priced as follows:

Arts Administration: $14
Conservation and Historic Preservation: $14
Library Science: $12

Ebooks can only be ordered through the CAA website (link forthcoming).

Sets of Entries

Individuals can search the directories by discipline, faculty specialization, country, region, state, degree type, and availability of health insurance via the CAA website and download PDFs of entries from either or both directories for $2 per entry (up to twenty entries). Upon ordering the entries, you will receive an email with a link to a single PDF containing the entries you have selected.

Contact

Questions about ordering? Please contact Roberta Lawson, CAA office coordinator, at 212-392-4404.

The September 2011 issue of The Art Bulletin, the leading publication of international art-historical scholarship, features an essay on Michelangelo’s drawings, in particular his cartoon for The Battle of Cascina (1504), and an article on urban scenes by the twentieth-century American painter John Sloan. Two additional contributions explore women and portraiture in postrevolutionary France and Roman mosaic labyrinths in North Africa. Book reviews on the art of Byzantium and imperial China, Mamluk culture, and the impact of modernist primitivism round out the issue.

In “Michelangelo, Drawing, and the Subject of Art,” Joost Keizer uncovers Michelangelo’s zeal for disegno, evasion of iconography, and emphasis on educational models for pupils—all of which contribute to art history via visual commentary on historical moments. In his study, Michael Lobel examines the significant body of work generated by John Sloan in 1907 that experiments with spatial orientation and pigment while challenging the artist’s identity as a painter, illuminated by meditations on New York as a shifting metropolis and his background in illustration.

Amy Freund’s cover essay for The Art Bulletin elucidates the importance of portraiture in France after 1789 in which female portraits, like that of Thérésia Cabarrus by Jean-Louis Laneuville in 1796, incorporated women into the French Revolution’s political presence and momentum toward engaged citizenship in the new republic. In “Roman Labyrinth Mosaics and the Experience of Motion,” Rebecca Molholt explores the effects of a transitory viewing experience within Roman baths in North Africa and the intermingling of architecture, myth, and the spectator.

The Reviews section has a particular emphasis on ancient cultures, starting with Jessica Rawson’s discussion of ancient commercial artists in China and Anthony J. Barbieri-Low’s book, Artisans in Early Imperial China. Charles Barber highlights the complexities of the Byzantine icon through the lens of innovations in fifteenth-century Cretan painting, as well as the sensory experience in Byzantium as described by Clemena Antonova in Space, Time, and Presence in the Icon and Bissera V. Pentcheva’s The Sensual Icon. Several books on the history of the Mamluk period, where military slaves became soldiers and eventually rulers of an empire across Egypt, the Arabian Peninsula, the Levant, and greater Syria, are reviewed by Heghnar Zeitlian Watenpaugh, including Cairo of the Mamluks by Doris Behrens-Abouseif. The final review is an analysis of the tension between African art and Western modernism by Elizabeth Harney, in which she sites Man Ray, African Art, and the Modernist Lens by Wendy A. Grossman and Picasso’s Collection of African and Oceanic Art by Peter Stepan as the newest sources to investigate the legacy of primitivism.

Please see the full table of contents for September to learn more. CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership.

The next issue of The Art Bulletin, to be published in December 2011, will feature essays on the portraiture of nuns in colonial Mexico, on the sociological context of Hokusai’s famous print Under the Wave off Kanagawa, and on Federico Zuccari’s painting The Encounter of Christ and Veronica on the Way to Calvary, among other articles and reviews.