CAA News Today
Apply now for CAA’s Professional Development Fellowships for graduate students!
posted by CAA — Sep 15, 2023
The Professional Development Fellowships program supports promising artists, designers, craftspersons, historians, curators, and critics who are enrolled in MFA, PhD, and other terminal degree programs. Fellows are honored with $10,000 unrestricted grants to help them with various aspects of their work.
One award will be presented to a practitioner—an artist, designer, and/or craftsperson—and one award will be presented to an art, architecture, and/or design historian, curator, or critic. Fellows also receive a free, one-year CAA membership and complimentary registration to the Annual Conference. Honorable mentions, given at the discretion of the jury, also earn a free one-year CAA membership and complimentary conference registration.
ARE YOU ELIGIBLE?
CAA seeks applications from students who are current members; will receive their MFA or PhD degree in the calendar year 2023, following the year of application (2024 for the current fellowship cycle); and have outstanding capabilities and demonstrate distinction in their contribution to art history and the visual arts.
HOW TO APPLY
See our website pages for the Professional Development Fellowship in Art History and the Professional Development Fellowship in Visual Arts for the full guidelines for each program and follow the APPLY NOW button.
DEADLINES
MFA and PhD Fellowships: November 15, 2023
CONTACT
For more information about the CAA Professional Development Fellowship program, Cali Buckley, Manager of Grants and Awards & Director of the CAA-Getty International Program, at cbuckley@collegeart.org.
CAA Signs ACLS Statement on Proposed Cuts at West Virginia University
posted by CAA — Sep 14, 2023
CAA has signed on to the American Council of Learned Societies (ACLS) statement, Fighting for an Ambitious Vision of Public Higher Education in America, in response to proposed cuts at West Virginia University. CAA stands with ACLS in the belief that the stewards of the university are “duty-bound to protect the creation and circulation of knowledge for the public good in all its diverse aspects, across disciplines and interdisciplinary areas.”
“By proposing major cuts in its undergraduate and graduate programs, including engineering, environmental planning, languages other than English, law, linguistics, mathematics, music, public administration, and theater, the university is denying its students and the people of West Virginia access to the wide range of knowledge necessary to fulfill that mission. The path WVU is treading is unprecedented for a public flagship and dangerous for American higher education and society.”
Other learned societies and higher education institutions who have signed the ACLS statement:
American Academy of Religion
American Folklore Society
American Historical Association
American Society for Environmental History
Association for Slavic, East European, and Eurasian Studies
Association of University Presses
College Art Association
Dance Studies Association
Linguistic Society of America
Medieval Academy of America
North American Conference on British Studies
Rhetoric Society of America
Society for Cinema and Media Studies
Society for Ethnomusicology
Society for Music Theory
Call for Submissions: Imagination & Collage Exhibition
posted by CAA — Sep 14, 2023

Christina Kemp, The Alien Hitchcock Conspiracy, 2023 (artwork © Christina Kemp)
The CAA Services to Artists Committee (SAC) is currently accepting submissions for Imagination & Collage, an exhibition to be held during the CAA 112th Annual Conference at Hilton Chicago, February 14–17, 2024. Both emerging and established artists working in the medium of collage are encouraged to apply.
Project Summary:
Collage relies on a mixture of the images and materials that alter or transcend meaning of the original source material. It invites us to recognize relationships made possible through fragmenting, recontextualizing, and reimagining of already existing images. The cut-up is a powerful medium to enact change and ignite imaginations. This is apparent in the history of modern collage from Cubism and Dadaism to contemporary exploration of analog and digital collage contending with the overwhelming abundance of readily accessible visual information. The artist collective General Idea’s popular slogan, “Cut up or shut up” is a statement that has become increasingly valid with the rise of the Internet and digital media, pushing the limits of how we approach the idea of collage. This exhibition invites artists to submit artwork that explores collage aesthetics, particularly highlighting the important qualities of this medium which are tied to social and cultural critique. Collage offers us a way to (re)think and (re)imagine ideas of the present and the future.
Submission Requirements:
- Artist statement (200 words max)
- Bio (150 words max)
- CV
- Portfolio of 10–15 images of completed work (.jpgs sized at 1 MB)
- A portfolio of 10 -15 jpeg images of completed work
- Please use a hosting service (Dropbox, WeTransfer, etc.)
- Please format file names: 01.LastName_Title_Medium_Dimensions_Date
- Please provide a corresponding image list (.doc., .docx., or .pdf)
- Handling instructions (if applicable)
- Accessibility requirements (if applicable)
- Website (optional)
Please Note: Entry is free. If a submission is selected for the exhibition, artists are responsible for arranging timely delivery and pickup of artwork in Chicago at their own expense.
Contact SAC chairs with any questions (servicestoartists@gmail.com) using the subject line, CAA AC2024 SAC Exhibition.
DEADLINE: November 1, 2023
Join the caa.reviews Council of Field Editors!
posted by CAA — Sep 05, 2023
CAA is inviting nominations and self-nominations for an individual to join the caa.reviews Council of Field Editors as Field Editor for Exhibitions—West Coast, for a term that begins immediately and runs through June 30, 2026.
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. Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals with stature in the field and experience writing or editing books and/or exhibition reviews; institutional affiliation is not required.
Working with the caa.reviews editor-in-chief, the caa.reviews Editorial Board, and CAA’s staff editor, the field editor selects content to be reviewed, commissions reviewers, and considers manuscripts for publication. 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 once a year at the CAA Annual Conference. Members of all CAA committees and editorial boards volunteer their services without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competing 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.
Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter, in one PDF document, by September 29, to ebell@collegeart.org.
Now Accepting Applications for the Wyeth Foundation and Millard Meiss Publication Grants for Fall 2023
posted by CAA — Jul 27, 2023

Fall 2022 Wyeth Foundation for American Art Publication Grant winner Stephanie Buhmann, Frederick Kiesler: Galaxies, The Green Box, Berlin, 2023
WYETH FOUNDATION FOR AMERICAN ART PUBLICATION GRANT
Since 2005, the Wyeth Foundation for American Art has supported the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA.
For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico. Eligible for the grant are book-length scholarly manuscripts in the history of American 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 deadline for the receipt of applications is September 15 of each year. Learn more about the Wyeth Foundation for American Art Publication Grant.
MILLARD MEISS PUBLICATION FUND
Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in 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. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975.
Books eligible for a Meiss grant must currently be under contract with a publisher and be on a subject in the arts or art history.
The deadlines for the receipt of applications are March 15 and September 15 of each year. Learn more about the Millard Meiss Publication Fund.
Apply for CAA Committee Service!
posted by CAA — Jul 07, 2023
Join one of CAA’s twelve Professional Committees, the Annual Conference Committee, or the Publications Committee as an at-large member! Each committee works from a charge that is established by the Board of Directors. For many CAA members, committee service fosters professional relationships, community, and facilitates impactful contributions to pressing issues in the visual arts.
Important Committee Service Information:
- Committee members serve a three-year term. Service for this committee cycle begins in February 2024 at the CAA 112th Annual Conference and concludes in February 2027 at the 115th Annual Conference.
- All applications are reviewed by current committee members as well as CAA leadership.
- Appointments will be announced by November 1, 2023. New members will be introduced to their committees during their respective business meetings at the 112th Annual Conference in Chicago.
- If appointed, applicants are expected to attend committee meetings, participate actively in the work of the committee, and contribute expertise to defining the current and future work of the committee.
- Appointees must be current CAA members before the start of their committee service.
- All committee members volunteer their service without compensation.
Click the links below to review the mission of each committee as well as the current roster of committee leadership and members:
CAA ANNUAL CONFERENCE COMMITTEE
The Annual Conference Committee is responsible for shaping the program of the Annual Conference, ensuring that the program reflects CAA’s goals: to make the conference an effective place for intellectual, aesthetic, and professional learning and exchange; to reflect the diverse interests of the membership; and to provide opportunities for participation that are fair, equal, and balanced
CAA PROFESSIONAL COMMITTEES
CAA’s twelve Professional Committees represent the constituent interests of the organization by addressing standards, practices, and guidelines in the professions of our individual and institutional members.
- Committee on Design
- Committee on Diversity Practices
- Committee on Intellectual Property
- Committee on Research and Scholarship
- Committee on Women in the Arts
- Education Committee
- International Committee
- Museum Committee
- Professional Practices Committee
- Services to Artists Committee
- Services to Historians of the Visual Arts Committee
- Student and Emerging Professionals Committee
CAA PUBLICATIONS COMMITTEE
The Publications Committee oversees CAA’s publishing activities and supervises the editorial boards of The Art Bulletin, Art Journal/AJO, and caa.reviews.
Please Note: At-large members of the Publications Committee represent the voice of our membership, and perform the role of committee secretary, taking minutes at three Publications Committee meetings per year in February, May, and October.
How to Apply for Committee Service
If you are interested in applying to serve on a CAA committee, please click the APPLY TO SERVE button below to fill out the application form and upload your CV as well as a brief personal statement describing your interest and experience.
Contact Maeghan Donohue, CAA Chief of Staff and Director of Strategic Planning, Diversity & Governance with any questions.
Deadline: September 15, 2023.
CAA Signs ACLS Statement on SCOTUS Affirmative Action Ruling
posted by CAA — Jul 07, 2023
Following the June 30 CAA Executive Director’s response to the US Supreme Court ruling invalidating race-conscious admissions considerations, CAA signed on to the American Council of Learned Societies (ACLS) statement on affirmative action.
The SCOTUS ruling stands in stark contrast to CAA’s commitment to meaningful diversity, equity, and inclusion practices. We concur with ACLS that “the active participation of diverse people in the scholarly enterprise is the best way to combat historic and systemic inequities,” and we remain dedicated to the contributions of all art scholars and practitioners.
Other learned societies and higher education institutions who have signed the ACLS statement:
American Academy of Religion
American Folklore Society
American Historical Association
American Philosophical Association
American Political Science Association
American Society for Environmental History
American Society for Theatre Research
Association for Jewish Studies
Association for Slavic, East European, and Eurasian Studies
Association for the Study of African American Life and History
Association of University Presses
German Studies Association
Medieval Academy of America
National Women’s Studies Association
North American Conference on British Studies
Oral History Association
Organization of American Historians
Rhetoric Society of America
Shakespeare Association of America
Society for Cinema and Media Studies
Society for Ethnomusicology
Society for Social Studies of Science
Society of Architectural Historians
Society of Biblical Literature
CAA-Getty International Program 2024: Applications now open!
posted by CAA — Jul 06, 2023

Photo: Stephen Fọlárànmí
Getty has awarded College Art Association (CAA) a grant to fund the CAA-Getty International Program for a thirteenth consecutive year. The Getty Foundation’s support will enable CAA to bring twelve international visual-arts professionals to the 112th Annual Conference, taking place in Chicago, February 14–17, 2024. These individuals will be first-time participants in the program and will be accompanied by alumni of the program returning to present papers during the conference.
Participants will receive funds for travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships. We encourage all international art historians, art history educators, and museum curators to apply. The program will also include a one-day preconference colloquium on international issues in art history on Tuesday, February 14, as well as ongoing engagement with other alumni from the program online and at future conferences. The deadline for applications is August 15, 2023. Guidelines and application can be found here.
In 2021, CAA organized a publication to celebrate ten successful years of the CAA-Getty International Program. The publication, entitled Global Conversations: 10 Years of the CAA-Getty International Program features in-depth accounts of the program, a timeline of important events and milestones, and directories of past papers, members, and meetings.
The CAA-Getty International Program was established to increase international participation in CAA and the CAA Annual Conference. The program fosters collaborations between North American art historians, artists, and curators and their international colleagues and introduces visual arts professionals to the unique environments and contexts of practices in different countries.
Since it began in 2012, the program has brought 159 scholars to the conferences, from over 50 countries located in Central and Eastern Europe, Asia, Southeast Asia, Africa, the Caribbean, and Central and South America. Each year, a preconference colloquium on international topics in art history inaugurates the week, kicking off four days of conference sessions, meetings with new colleagues, and visits to museums and galleries. Subsequent to these events, the program has generated many scholarly collaborations, including publications, conferences, and exhibitions.
Most of all, former grant recipients have become ambassadors of CAA in their countries, sharing knowledge gained at the Annual Conference with their colleagues at home. Past recipients have said that “variety of topics presented also exposed me to the realization that there is so much to be done to unearth the hidden treasures of global art history, which hitherto I have overlooked in my discipline and nation but which will now form the basis of my future projects,” and “the direct contact with other global south researchers is an unique occasion, rarely possible and extremely enriching.”
SCOTUS Ruling on Affirmative Action: CAA ED Response
posted by CAA — Jun 30, 2023
The US Supreme Court ruling invalidating race-conscious admissions considerations at colleges and universities is antithetical to CAA’s mission, specifically our commitment to the diversity of practices and practitioners in the visual arts and academia. This is another in a series of blows to the field, the reverberations of which will be felt for generations to come.
Justice Clarence Thomas dismissing affirmative action policies at universities as “rudderless, raced-based preferences” demonstrates a deliberate suppression of the entire history of institutional racism in this country, which by design actively obstructs opportunity and access for so many.
Now more than ever, we must come together as an organization and develop alternative strategies for ensuring equity and representation in a meaningful way, without performativity or tokenism. Even with affirmative action policies in place, many important voices were relegated to the margins; this ruling will only serve to repress them further. We have a responsibility to continue fighting to center and amplify such voices.
Despite this current era of national regression in the realm of human rights, I still have faith we can have an impact, learn from a problematic past, and reshape the future of the field. Join me in continuing to transform pain into purpose.
Meme Omogbai
Executive Director & CEO
CAA | Advancing Art and Design
CWA Picks: Summer 2023
posted by CAA — May 31, 2023
CAA’s Committee on Women in the Arts (CWA) curates a seasonal list of must-see exhibitions. The CWA Summer 2023 picks highlight the rich contributions of women-identifying African, Latinx, and Indigenous artists, bringing their voices to the forefront. These artists explore the legacies of their respective mediums and their enduring significance in contemporary art. Unafraid to tackle pressing social issues, their works offer a powerful lens through which to examine themes of gender, sexuality, race, and ethnicity. By amplifying marginalized perspectives, these exhibitions provoke meaningful conversations and challenge existing narratives in the art world.
Tender Loving Care
July 22, 2023–July 28, 2025
Museum of Fine Art, Boston
This exhibition explores the theme of care through contemporary art. The act of creating and appreciating art is a form of care, and the exhibition highlights how artists address this concept through their materials, ideas, and processes. The exhibition showcases around 100 works from the museum’s collection, organized into five thematic groupings: threads, thresholds, rest, vibrant matter, and adoration. Examples of care in art can be seen in Gisela Charfauros McDaniel’s portrait of her mother, Nick Cave’s Sound Suit, and textiles and fiber art by Sheila Hicks, Howardena Pindell, and Jane Sauer. Through these works and others, visitors are invited to consider how care can inspire new models for living and feeling in the present and the future.
Creativity in the Time of COVID-19: Art as a Tool for Combatting Inequity and Injustice
August 25–September 30, 2023
Buffalo NY: Squeaky Wheel, Buffalo Arts Studio + Buffalo Game Space
In collaboration with the Andrew W. Mellon Foundation, Michigan State University, and SUNY Buffalo’s Amatryx Lab & Studio, this exhibition features a range of BIPOC, LGBTQ+, and Buffalo-based artists and creatives to center marginalized experiences of the pandemic and social justice concerns.
Black Venus
Through August 20, 2023
Museum of the African Diaspora, San Francisco
BLACK VENUS, curated by Aindrea Emelife is an exhibition that surveys the legacy of Black Women in visual culture – from fetishized, colonial-era caricatures to the present-day reclamation of the rich complexity of Black womanhood by 18 artists (of numerous nationalities and with birth years spanning 1942 to 1997). This exhibition is a celebration of Black beauty, an investigation into the many faces of Black femininity and the shaping of Black women in the public consciousness – then and now.
In BLACK VENUS, archival depictions of Baartman and other historical Black women pair with the vibrant, narrative portraiture by some of today’s most influential Black image-makers whose work deals with layered narratives of Black femininity.
This exhibition reckons with difficult visual histories. It features some themes and images that are derogatory and many that are empowering. Sensitive visitors should be aware that several artists in the exhibition employ nudity and sexual imagery to explore their ideas.
Amalia Mesa-Bains: Archeology of Memory
Through August 13, 2023
UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley
Amalia Mesa-Bains: Archaeology of Memory is the first retrospective exhibition of the work of longtime Bay Area artist Mesa-Bains. Presenting work from the entirety of her career for the first time, this exhibition, which features nearly 60 works in a range of media, including fourteen major installations, celebrates Mesa-Bains’s important contributions to the field of contemporary art locally and globally.
Shaped by the Loom: Weaving Worlds in the American Southwest
Through July 9, 2023
Bard Graduate Center, NYC
Shaped by the Loom: Weaving Worlds in the American Southwest invites you to explore the world of Navajo weaving. This dynamic gallery and online experience presents never-before-seen textiles created by Diné artists. These historic blankets, garments, and rugs from the American Museum of Natural History are situated alongside contemporary works by Diné weavers and visual artists, such as Barbara Teller Ornelas and Lynda Teller Pete. Shaped by the Loom highlights seasonal cycles that guide the harvesting of dye plants, the cosmologies that inform a weaver’s work, and the songs, stories, and prayers that are woven into every piece. The items in the exhibition will be accompanied by artist interviews, interactive storytelling, and stunning panoramic views of the Navajo Nation. Shaped by the Loom elevates the voices of Indigenous artists and makers to express the cultural legacy and continued vibrancy of weaving traditions in the American Southwest.
The Figure, Reclaimed
A Renaissance of the female body in visual culture
July 5–August 4, 2023
Carolla Arts Exhibition Center, Missouri State University
Throughout the history of visual culture, figurative painting has been regarded as one of the highest forms of Western art. Dazzling displays of hyper-realistic anatomical mastery and expansive narrative scenes depicting multiple figures through complex perspectives dominated as the pinnacle of art-making for centuries. While the artists of these historic images were all white male painters, it was the female body that was often leveraged for these narratives. Further, female artists were also excluded from painting these historic scenes and denied access to nude models to even attempt to study the art of figural painting.
The Figure, Reclaimed, seeks to celebrate and explore the Renaissance of the female body and the female figurative painter in visual culture. Through the work of Aneka Ingold and Livia Xandersmith, this exhibition explores how female figurative painters have combined the traditional art of figurative painting with contemporary, stylized approaches to redefine and expand upon what it means to be a figurative painter, ruminate on the female experience, and how representations of the female body are consumed.
As women face losing bodily autonomy in today’s contemporary society, what does it mean to be a female figurative painter in today’s context? What stories must be told on the scale of figurative painting about what it means to identify as a woman today? Why is the female body a contested landscape, and why does this form hold a sense of home base for visual culture? Is it the embodied connection to humanity and life?
Madeleine Hunt-Ehrlich: Too Bright to See
Perez Art Museum, Miami
Through January 7, 2024
Madeleine Hunt-Ehrlich (b. 1987) is a filmmaker and artist whose work blends narrative and documentary traditions to explore stories and experiences of Black women in the Americas.
Hunt-Ehrlich’s experimental narrative artwork Too Bright to See (Part I) draws on her extensive research on the legacy of Suzanne Roussi-Césaire, a writer and anticolonial and feminist activist from Martinique who, along with her husband, Aimé Césaire, was at the forefront of the Négritude movement during the first half of the 20th century. Roussi-Césaire would also become an important Surrealist thinker, influencing the likes of painter Wifredo Lam and writer André Breton. However, despite her critical contributions to Caribbean thought and Surrealist discourse, until recently much of her work was overlooked.
Too Bright to See (Part I) weaves archival materials with cinematic narrative scenes filmed with an unconventional and modern cast. Drawing inspiration from Caribbean aesthetics and Surrealist artwork, this film installation brings attention to new aspects of Roussi-Césaire’s legacy that are undocumented in the public arena, while addressing the broader question of the continued erasure of women from historical accounts.
Carrie Mae Weems: Reflections for Now
Barbican Art Gallery, London
June 21–September 3, 2023
Opening 22 June 2023, Barbican Art Gallery is proud to present the first major solo exhibition of Carrie Mae Weems in a UK institution. Widely considered to be one of the most influential American artists working today, Weems (b.1953) is celebrated for her exploration of cultural identity, power structures, desire, and social justice through a body of work that develops questioning narratives around race, gender, history, class and their systems of representation.
Highlighting her remarkably diverse and radical practice, this survey brings together an outstanding selection of photographic series, films, and installations spanning over three decades, many of which have never been seen before in the UK. Presenting the development of her unique poetic gaze and formal language from the early 1990s to the present day, this exhibition reflects on Weems’s pioneering career. On display are works from her early iconic Kitchen Table Series (1990) which explores how power dynamics are articulated in the domestic sphere and the potential of the home as a space for resistance, to her acclaimed series Roaming (2006) and Museums (2016) where Weems’s muse confronts architecture as the materialisation of political and cultural power. Her oeuvre challenges dominant ideologies and historical narratives created by and disseminated within science, architecture, photography, and mass media.
The exhibition is accompanied by Carrie Mae Weems: Reflections for Now, the first publication devoted to the artist’s writings. It will highlight Weems’s influence as an intellectual, reflecting the dual nature of her career as an artist and activist. A public programme of events, including a programme of films in Barbican cinema, will also run throughout the course of the exhibition.
Gio Swaby: Fresh Up
Through July 3, 2023
Art Institute of Chicago
Gio Swaby is a multidisciplinary artist whose textile-based practice explores the intersections of Blackness and womanhood. Her embroidered portraits are anchored in the connections she forges with her subjects: each portrait begins with a photo shoot in which her sitters are captured in a moment of self-awareness and empowerment. In her textile interpretations, Swaby foregrounds their hair, clothing, and jewelry—highlighting and celebrating the subjects’ use of fashion as unapologetic self-definition and self-expression.
This exhibition—Swaby’s first solo museum show—brings together seven of Swaby’s series from 2017 through 2021, such as My Hands Are Clean, Love Letters, and Pretty Pretty, along with approximately 15 new works, including her largest work to date, a commission for the US Embassy in Nassau, Bahamas. The title of the show, Fresh Up, developed with the artist, is a Bahamian phrase often used as a way to compliment someone’s style or confident way of being. Swaby has remarked, “It holds a lot of positivity and joy. It also speaks to the tone of confidence and power that I want to create with these works. I love that it is a way to form connections through a simple phrase.”
Lynn Hershman Leeson: Phantom Limb
Through July 8, 2023
Altman Seigel, San Francisco
Altman Siegel proudly presents a historical exhibition of works from Lynn Hershman Leeson’s Phantom Limb series, which was created in the 1980s. At the time that it was created, the Phantom Limb collages illustrated the more insidious impacts of mass media and technology on women’s bodies. Created prior to the advent of Photoshop, this body of work borrows from the visual language of advertising, fusing female forms with technology. Seductively posed women merge with cameras, TV screens, and electrical plugs, pointing to ways in which gendered mass media representations shape and distort women’s self-image. At once alluring and disarming, these black-and-white photo collages grapple with the absorption of female identity into modern media at a time when the depths of this issue were just beginning to be explored.
In this series Hershman Leeson was already musing on the implications of surveillance when she describes cameras as a “capture system”:
“This photographic series…suggests that we are not only being watched by surveillance systems, but that ‘capture’ systems are endemic to our society. The series questions individual complicity in a system that simultaneously steals images and warps personal identity. The seductive alliance of surveillance and capture inspired the sexually provocative positions in the anthropomorphic images.” – Lynn Hershman Leeson

My Hands Are Clean 4, 2017 Gio Swaby. Courtesy of Claire Oliver and Ian Rubinstein. © Gio Swaby