College Art Association

CAA News Today

CAA is accepting applications for fall 2016 grants through the Millard Meiss Publication Fund. Thanks to a generous bequest by the late art historian Millard Meiss, the twice-yearly program supports book-length scholarly manuscripts in any period of the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy.

The publisher, rather than the author, must submit the application to CAA. Awards are made at the discretion of the jury and vary according to merit, need, and number of applications. Awardees are announced six to eight weeks after the deadline. For the complete guidelines, application forms, and a grant description, please visit the Meiss section of the CAA website. Deadline: September 15, 2016.

New Essays in Art Journal Open

posted by July 05, 2016

Art Journal Open is pleased to announce the publication of “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation: Episode Three, 2013,” by Natilee Harren, and a response to the essay by Nate Harrison. Harren’s three-part essay examines appropriation as an artistic strategy that pressures both the legal and conceptual definitions of authorship through a case study of three specific episodes in the artist Karl Haendel’s practice of recirculating images. Harrison responds to each of Harren’s essays, offering a critical reminder of the historical specificity of postmodernism and appropriation.

New Faces for CAA’s Publications

posted by June 15, 2016

The president of the CAA Board of Directors, Suzanne Preston Blier, has confirmed new appointments to the editorial boards of CAA’s three scholarly journals and to the Publications Committee, in consultation with the vice president for publications, Gail Feigenbaum.

The Art Bulletin

A new member-at-large has joined the Art Bulletin Editorial Board. Laura Weigert is an associate professor at Rutgers University in New Brunswick, New Jersey, whose area of specialization is Northern European art of the late Middle Ages and Renaissance. Her term on the editorial board runs through June 2020.

Art Journal

Three new at-large members have joined the Art Journal Editorial Board. Tatiana E. Flores, associate professor at Rutgers University in New Brunswick, New Jersey, with a joint appointment in the Department of Art History and the Department of Latino and Caribbean Studies, specializes in Latin American and contemporary art. She is also active as an independent curator. Amelia G. Jones, a historian and theorist of contemporary art and performance studies, is Robert A. Day Professor of Art and Design and vice dean of critical studies at the University of Southern California’s Roski School of Art and Design in California. Derek Conrad Murray, associate professor of contemporary art and visual culture at the University of California, Santa Cruz, focuses on the junctures of African American and African diasporic art, postblack art and aesthetics, cultural theory, and identity and representation. The term for each new editorial-board member goes through June 2020.

In addition, Tirza T. Latimer, chair of the graduate program in visual and critical studies at California College of the Arts in San Francisco and a member of the Art Journal Editorial Board since 2014, will now serve as its chair. Her term extends through June 2018.

The Editorial Board welcomes Juliet Bellow, associate professor of art history at American University in Washington, DC, as editor designate for the journal. She will begin a three-year term as editor-in-chief on July 1, 2017. Bellow has been a field editor for books on nineteenth-century art and served on the journal’s editorial board for the past four years. Andrei Pop, associate professor for the Department of Art History and the John U. Nef Committee on Social Thought at the University of Chicago in Illinois, has joined the Editorial Board after serving as field editor for books on theory and historiography. recently added design history as a subject area, and Karen Carter, an associate professor from the Kendall College of Art and Design at Ferris State University in Grand Rapids, Michigan, will be the first editor to commission books on the subject. In addition, Iris Moon, visiting assistant professor of architecture at Pratt Institute in Brooklyn, New York, has joined the journal’s Council of Field Editors to commission reviews for books on eighteenth-century art. Alpesh Kantilal Patel, assistant professor and director of the MFA program in visual arts at Florida International University in Miami, currently serves as field editor for books on contemporary art.

Publications Committee

Emily Shapiro has joined CAA’s Publications Committee as member-at-large for a term of three years. Shapiro is managing editor of the Archives of American Art Journal, after serving as executive editor for American Art.

This Week in

posted by June 10, 2016

James M. Córdova on sixteenth-century murals in Mexico: Penny Morrill, The Casa del Deán: New World Imagery in a Sixteenth-Century Mexican Mural Cycle.

Lynne Ellsworth Larsen on the relationship between art and language in Yoruba art: Rowland Abiodun, Yoruba Art and Language: Seeking the African in African Art.

Terri Weissman reviews the inaugural exhibition at the new Whitney Museum of American Art, America Is Hard to See.

James Merle Thomas on collaborations between artists and corporations at the Los Angeles County Museum of Art: From the Archives: Art and Technology at LACMA, 1967–1971.

This spring, CAA awarded grants to the publishers of six 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 six Meiss grantees for spring 2016 are:

  • Joanna Grabski, Art World City: The Creative Economy of Artists and Urban Life in Dakar, Indiana University Press
  • Shelley Drake Hawks, Painting by Candlelight: The Art of Resistance in Mao’s China, University of Washington Press
  • Miya Mizuta Lippit, Aesthetic Life: The Artistic Discourse of Beauty in Modern Japan, Harvard University Press
  • Leora Maltz-Leca, William Kentridge: Process as Metaphor and Other Doubtful Enterprises, University of California Press
  • Heather McPherson, Art and Celebrity in the Age of Reynolds and Siddons, Pennsylvania State University Press
  • Amanda Wunder, Sacred Art and Society in Seventeenth-Century Seville, Pennsylvania State University 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 and presses must be current CAA members. Please review the application guidelines for more information.

Support CAA’s Publications Fund

posted by May 20, 2016

CAA’s journals continue to deliver the world’s leading scholarship in the visual arts. This year, we welcome many new additions and changes to the publications while maintaining our commitment to bringing readers the most vital, intellectually compelling, and visually engaging scholarly journals in art and art history.

We encourage you to support our mission of advancing the highest standards of intellectual engagement in the arts with a gift to the Publications Fund today. As always, your contribution is tax-deductible, so please give generously!

Beginning July 1, 2016, CAA welcomes Nina Athanasoglou-Kallmyer, Professor Emerita at the University of Delaware, as The Art Bulletin’s next editor-in-chief. Rebecca Brown, Art Journal’s editor-in-chief and Associate Professor at Johns Hopkins University, published her first issue in Spring 2016. CAA’s exclusively online publication, recently launched a new website, and Art Journal Open, CAA’s accessible online venue for contemporary works, takes on appropriation as an artistic strategy in a three-part series.

Here are some recent highlights from CAA publications:

In The Art Bulletin:

  • Recent articles include Erik Inglis on revelations in the 1534 inventory of the St-Denis treasury; Paola Demattè on cross-cultural factors in eighteenth-century Parisian prints of Chinese subjects; Richard Taws on the imposter dauphins in the wake of the French Revolution and the issue of truth in nineteenth-century discourse; and the tensions between the individual and the collective in postwar German art groups, in an analysis by Jacopo Galimberti
  • In the “Whither Art History?” series, Youngna Kim explores the relation of Korean art history to global developments in the discipline; Shao Yiyang reflects on the state of art history in China
  • Reviews of books range from art in Byzantine diplomatic encounters to transcontinental and transoceanic image networks in early America, and from Chinoiserie in eighteenth-century Britain to the circulation of artworks in late Ottoman Istanbul

In Art Journal:

  • Artists’ projects by Jason Simon, Amy Adler, and Julia Oldham, the last an astrophysical exploration of loss, love, and canine connection
  • Essays by Emma Chubb, examining Isaac Julien’s images of traumatic crossings of the Mediterranean by present-day migrants; Natilee Harren on the means by which materials and fragments of the urban fabric found their way into the confounding commodities of Fluxus artists in the 1960s; Cynthia Chris and Jason Simon on the economic elements of video art as it nears the half-century mark; and Daniel Rosenberg on the presentation of complex data about war and disaster in large photographic works by the Dutch artist Gert Jan Kocken
  • A seven-author forum organized by Jordana Moore Saggese that sheds new light on diversity and difference from perspectives including queer failure, craft, diasporic studies, critical race history, and disability
  • Reviews of books artists on William Kentridge, Isa Genzken, and Antonin Artaud; on decolonization in postwar France; and on art emerging from postsocialist nations
  • In Art Journal Open, “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation” by Natilee Harren. Harren’s three-part essay examines appropriation as an artistic strategy that pressures both the legal and conceptual definitions of authorship through a case study of three specific episodes in artist Karl Haendel’s practice of circulating existing images. Nate Harrison responds, offering a critical reminder of the historical specificity of postmodernism and appropriation. Haendel’s contribution Oral Sadism & the Vegetarian Personality (Approximately) is an animated representation of the artist’s extensive archival collection of some ten thousand found images and photographs, used as source material for his drawings. Other recent pieces are a report on Art + Feminism’s Wikipedia Edit-a-thon at the Museum of Modern Art by Chelsea Spengemann, and a conversation between curator Mia Locks and artist Math Bass.

In (Now fully open access!):

  • continues to expand the number and type of reviews published each year. In 2015, the journal published 159 reviews on exhibitions and books in all areas of the visual arts. In 2016, an addition to the Re:Views series—an essay by Eddie Chambers, University of Texas Austin, on his role in commissioning reviews on African and African Diaspora art—discusses the division of subject categories within US academic communities and the lack of scholarship published on these topics. Forthcoming by Editor Designate, Juliet Bellow, is a multimedia project using the Scalar platform reviewing a two-day performance at the Tate Modern, If Tate Modern was Musée de la danse? by choreographer Boris Charmatz, which will be accompanied by an interactive floor plan and additional texts and images.

These highly regarded journals reach tens of thousands of readers around the world and serve as essential resources to those working in the visual arts—none of which would be possible without your support. Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year, through CAA News, and in the Annual Conference’s convocation booklet. On behalf of the scholars, critics, and artists who publish in the journals, we thank you for your continued commitment to maintaining a strong and spirited forum for the visual arts community.

With best regards,





Gail Feigenbaum
Vice President for Publications


The College Art Association (CAA) and Terra Foundation for American Art invite applications for the 2017 Terra Foundation for American Art International Publication Grant. The grant provides financial support for the publication of book-length scholarly manuscripts on the history of American art from circa 1500 to 1980 in the current-day geographic United States. The deadline for applications is September 15, 2016.

“Now in its sixth year, this international grant program helps to ensure that the field of American art history includes a wide range of culturally and geographically diverse voices,” stated Terra Foundation Publication Program Director Francesca Rose. “For example, Vardan Azatyan’s Armenian translation of Erika Doss’s book Twentieth-Century American Art increases awareness of the historical art of the United States by making important scholarship available to a broader audience and fostering international collaboration.”

Awards of up to $15,000 will be made in three distinct categories:

Grants to US publishers for manuscripts considering American art in an international context

Grants to non-US publishers for manuscripts on topics in American art

Grants for the translation of books on topics in American art to or from English.

“The generous support by the Terra Foundation for American Art to help finance book publications in the field of art history will benefit not only the recipients of the grant, but also teachers, students, and the art book reading public more generally,” says Suzanne Blier, president of CAA.

For more information on submission process, guidelines, and eligibility, please visit the CAA website.

The 2016 Terra Foundation for American Art International Publication Grant winners were announced in February after the CAA Annual Conference in Washington, DC.


  • Jean-Pierre Criqui and Céline Flécheux, eds., Robert Smithson. Mémoire et entropie, Les presses du réel
  • Erika Doss, Twentieth-Century American Art, translated into Armenian by Vardan Azatyan, Eiva Arts Foundation
  • Eva Ehninger and Antje Krause-Wahl, eds., In Terms of Painting, Revolver Publishing
  • Darcy Grimaldo Grigsby, Colossal: Engineering the Suez Canal, Statue of Liberty, Eiffel Tower, and Panama Canal, translated into French by Karine Douplitzky, Éditions des archives contemporaines
  • Rockwell Kent, Voyaging Southward from the Strait of Magellan, translated into Spanish and edited by Fielding D. Dupuy, Amarí Peliowski, and Catalina Valdés, Museo Nacional de Bellas Artes (Chile) and Ediciones Universidad Alberto Hurtado
  • Will Norman, Transatlantic Aliens: Modernism, Exile and Culture in Midcentury America, Johns Hopkins University Press
  • Annika Öhrner, ed., Art in Transfer—Curatorial Practices and Transnational Strategies in the Era of Pop, Södertörn University
  • Joshua Shannon, The Recording Machine: Art and the Culture of Fact, Yale University Press
  • Fred Turner, The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties, translated into French by Anne Lemoine, C & F Éditions

Two non-US authors of top-ranked books were also awarded travel funds and complimentary registration for CAA’s 2017 Annual Conference in New York from February 15 to 18; they also received one-year CAA memberships.

The two author awardees for 2016 are:

  • Will Norman
  • Annika Öhrner

Image caption: Winslow Homer, Three Boys on the Shore, 1873, gouache and watercolor on paper mounted on board, 8⅝ x 13⅝ in. (image); 14⅜ x 19½ in. (mat). Terra Foundation for American Art, Daniel J. Terra Collection, 1999.75 (artwork in the public domain)

An astrophysical dog who travels to and escapes from a black hole is the protagonist of Julia Oldham’s The Loneliest Place, an artist’s project featured in the Spring 2016 issue of Art Journal.

The issue, the first in the editorship of Rebecca M. Brown of Johns Hopkins University, also features Emma Chubb’s essay on small-boat Mediterranean migration in the work of Isaac Julien; Natilee Harren’s exploration of Fluxboxes, the confounding commodities produced by Fluxus artists in the 1960s; and a seven-author forum on diversity and difference, moderated by Jordana Moore Saggese.

The Reviews section examines books by Gil Z. Hochberg, Jay Murphy, and Anthony Gardner; an annotated bibliography by James Walsh takes a sidelong look at the arctic plants of New York City. Seeks Field Editors

posted by March 18, 2016 invites nominations and self-nominations for individuals to join its Council of Field Editors, which commissions reviews within an area of expertise or geographic region, for a term ending June 30, 2019. An online journal, is devoted to reviewing books, museum exhibitions, and projects relevant to art history, visual studies, and the arts.

The journal seeks field editors for books in the following subject areas: early modern Iberian and Latin American art; design history; American art; architecture and urbanism, pre-1800; eighteenth-century art; and Japanese art. The journal also seeks field editors for exhibitions in the following areas: modern and contemporary art; New York and international; and west coast pre-1900. Candidates may be artists, art or design historians, critics, curators, or other professionals in the visual arts; institutional affiliation is not required.

Working with the editor-in-chief, the 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 their fields of expertise, and field editors 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 currently serve 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: Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Deidre Thompson, CAA publications assistant. Deadline: April 15, 2016.

New and Forthcoming in CAA’s Journals

posted by March 08, 2016

Art Journal Open

“Knight’s Heritage: Karl Haendel and the Legacy of Appropriation,” brings together the artist Karl Haendel and the scholar Natilee Harren, with an introduction by web editor Gloria Sutton, and a response text by the artist and writer Nate Harrison. Harren’s three-part essay looks closely at appropriation as an artistic practice through a case study of three specific episodes in Haendel’s career. Harrison provides a response to each essay by Harren to historically contextualize this enduring artistic tradition. Haendel’s contribution Oral Sadism & The Vegetarian Personality (Approximately) draws on the artist’s extensive archival collection of some ten thousand found images and photographs, which he uses as source material for his drawings. Haendel animated 135 images from his analogue archive especially for Art Journal Open, his first foray into the online presentation of his source imagery.

Art Journal

Artists’ projects by Amy Adler and Jason Simon are highlighted in the Winter 2015 issue of Art Journal. It also features extended essays by Cynthia Chris with Jason Simon on the economics of video art as it nears the half-century mark, and by Daniel Rosenberg on the presentation of complex data about war and disaster in large photographic works by the Dutch artist Gert Jan Kocken; a short essay by Liz Kotz introduces the Adler project. In addition to reviews of books by Matthew Kentridge and Hannah Feldman, the issue includes a review of three exhibitions and catalogues on artists of the Dusseldorf school, as well as an annotated bibliography by Gavin Kroeber on the intersection of art, urbanism, and landscape.

The forthcoming Spring 2016 issue, the first edited by Rebecca M. Brown, features an artist’s project with pen-and-ink drawings and text by Julia Oldham, essays by Emma Chubb and Natilee Harren, and a multiauthor forum organized by Jordana Moore Saggese on diversity and difference. Books by Gil Hochberg, Ros Murray, and Anthony Gardner are reviewed, and an annotated bibliography by James Walsh focuses on books from six centuries that he consulted while creating his artist’s book The Arctic Plants of New York City.

The Art Bulletin

The cover of the December 2015 issue of The Art Bulletin presents an unusual view of Édourad Manet’s painting Olympia: it shows just the right side of the 1863 work, cropping out most of the central figure, but bringing into focus both the courtesan’s black maid, the subject of Darcy Grimaldo Grigsby’s essay “Still Thinking about Olympia’s Maid,” and the elaborate shawl draped over the bed, examined by Therese Dolan in “Fringe Benefits: Manet’s Olympia and Her Shawl.” The issue also features essays by Sun-Ah Choi on the medieval reception of the Mahābodhi Temple statue of the Buddha and by Lisa Pon on the visual and auditory impacts of Raphael’s tapestries for the Sistine Chapel, as well as the recurring “Whither Art History?” feature, in which Filiz Yenişehirlioğlu explores the global reach of Ottoman art and architecture.

The forthcoming March 2016 issue includes essays by Erik Inglis, Paola Demattè, Richard Taws, Jacopo Galimberti, and Youngna Kim. In addition, Nancy Um makes her debut as reviews editor of the journal, with four reviews linked by a theme of artistic exchange and material transmission.

CAA’s online book and exhibition review journal publishes content continuously on a newly updated platform. Recently published book reviews include  Victoria L. Rovine’s African Fashion, Global Style: Histories, Innovations, and Ideas You Can Wear (Bloomington: Indiana University Press, 2014) reviewed by Erin M. Rice;  David Young Kim’s The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style (New Haven: Yale University Press, 2014) reviewed by Christian K. Kleinbub; and  Cynthia Mills’s Beyond Grief: Sculpture and Wonder in the Gilded Age Cemetery (Washington, DC: Smithsonian Institution Scholarly Press, 2014) reviewed by Melissa Dabakis.

Reviews of recent exhibitions include Cubism: The Leonard A. Lauder Collection at the Metropolitan Museum of Art (October 20, 2014–February 16, 2015), reviewed by Michaël Amy; and  Rivera and Frida Kahlo in Detroit at Detroit Institute of Arts (March 15–July 12, 2015), reviewed by Delia Cosentino.

Taylor & Francis Online

In addition to their print subscription(s), CAA members receive online access to current and back issues of Art Journal and The Art Bulletin. Taylor & Francis, CAA’s publishing partner, also provides complimentary online access to Word and Image, Design and Culture, and Public Art Dialogue for CAA members. To access these journals, please log into your account at and click the link to the CAA Online Publications Platform on Taylor & Francis Online.

College Art Association

The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching. Learn more about CAA at

Top image: Karl Haendel working in his studio, 2001 (photograph © Florian Maier-Aichen)