CAA News Today

The Association of Academic Museums and Galleries has published The Task Force for the Protection of University CollectionsA Ready Reference Guide for Academic Museum Professionals. The Task Force, which includes CAA and its Executive Director and CEO, Meme Omogbai, aims to serve as a resource and advocate for college and university museums whose collections are or may be under threat. This guide outlines the Task Force’s purpose and has basic information for museum professionals to begin to address challenges related to voluntary deaccessions.


Filed under: Advocacy, Task Force

Women’s History Month and Art Journal Open

posted by March 21, 2022

Each week this Women’s History Month, we highlight the rich scholarship and programs produced at CAA that celebrate women in the fields of visual arts and the humanities. This week, we are sharing a bibliography of articles from our open-access journal Art Journal Open that feature women artists.

This Women’s History Month is also especially significant this year, which is the 50th anniversary of feminism at CAA. To learn more about this history, visit this page. CAA is also collecting archival materials to better understand and document the history of its Committee of Women in the Arts, including the committee’s many collaborations with other affiliate committees and groups, such as the Women’s Caucus for Art, The Feminist Art Project, the Queer Caucus, and many more. Visit this page for more information.

Andrew, Nell. “DadaDance: Sophie Taueber’s Visceral Abstraction.” Art Journal Open (July 3, 2014).

Sophie Taueber-Arp, Free Vertical-Horizontal Rhythms (Rythmes verticaux-horizontaux libres), 1919, gouache, 11 15⁄16 x 8 9⁄16 in. (30.3 x 21.8 cm). Stiftung Hans Arp und Sophie Taeuber Arp e.V., inv. 003.205 (artwork in the public domain; photograph provided by Stiftung Hans Arp und Sophie Taeuber Arp)

Barakeh, Zeina. “Projections for the Third Half [Cloud Storm].” Art Journal Open (August 6, 2020).

Zeina Barakeh, Projections From The Third Half [Cloud Storm], 2020, animation, 3 min. (artwork © Zeina Barakeh)

Barber, Tiffany E. “Narcissister, a Truly Kinky Artist.Art Journal Open (March 11, 2020).

Narcissister, Red Riding Hood, 2014, mixed media (photograph provided by the artist)

Berrigan, Caitlin and Sasha Engelmann. “Fault Lines and Fractures: A Conversation about Imaginary Explosions.” Art Journal Open (December 17, 2020).

Caitlin Berrigan, excerpt from Imaginary Explosions, 2018

Bryan-Wilson, Julia and Mary Beth Heffernan. Facing Social Practice: Mary Beth Heffernan in conversation with Julia Bryan-Wilson.” Art Journal Open (June 30, 2020).

Stanford Express Care nurse Anna Chico, who was among the first providers to use PPE Portraits for COVID-19 care, March 2020 (photograph by Cati Brown-Johnson)

Burns, A.K. and Melissa Ragain. “Scripting A Smeary Spot.” Art Journal Open (December 8, 2017).

The late Jack Doroshow performs as Mother Flawless, a clairvoyant psyche. In this scene she recites an excerpt from Joanna Russ’ sci-fi novel We Who Are About To. . . , A.K. Burns, video still from A Smeary Spot, 2015, four-channel video installation, HD color, six-channel sound, TRT 53:13 (artwork © A.K. Burns; image provided by the artist, Callicoon Fine Arts, NY, and Michel Rein Gallery, Paris/Brussels)

Cancelmo, Amy. “Roots and Ramble Kija Lucas and Amy Cancelmo in Conversation.” Art Journal Open (August 30, 2016).

Kija Lucas, Bristol 30, 2013, archival pigment print, 20 x 24 in. (50.8 x 60.9 cm), from In Search of Home, (artwork © Kija Lucas)

Carland, Tammy Rae and Ann Cvetkovich. “Sharing an Archive of Feelings: A Conversation.” Art Journal Open (October 24, 2013).

Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (50.8 x 61cm) (artwork © Tammy Rae Carland)

Costello, Kate. “P&P .” Art Journal Open (November 3, 2016).

Still from Kate Costello, P&P, 2016, video, 1 min., 26 sec. (artwork © Kate Costello)

Craycroft, Anna. “To Listen.” Art Journal Open (October 25, 2017).

Sophomore Seminar with Meg Cranston and Marlena Donohue, April 5, 2017: Meg Cranston and Marlena Donohue’s class met with Anna Craycroft to discuss Tuning the Room in relation to Umberto Eco’s essay “The Open Work.” (artwork © Anna Craycroft)

Craycroft, Anna. “To Record, to Interpret, to Comment.” Art Journal Open (March 1, 2017).

Anna Craycroft, The Earth Is a Magnet, 2016, installation view, part of The Artist’s Museum, Institute of Contemporary Art Boston, November 16, 2016–March 26, 2017 (artwork © Anna Craycroft; photograph by Charles Mayer)

DaPonte, Amy A. “Candida Höfer’s Turken in Deutschland as ‘Counter-publicity’.” Art Journal Open (January 6, 2017).

Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016)

Fuenmayor, Jesús. “Barricades of Silence: Nikita Gale in Conversation with Jesús Fuenmayor.” Art Journal Open (August 20, 2020).

Nikita Gale, INTERCEPTOR, 2019, installation view, Fall Apart: Nikita Gale & Pat O’Neill, Martos Gallery, New York, January 11–February 24, 2019 (artwork © Nikita Gale; photograph by Charles Benton/Martos Gallery, provided by the artist)

Goodeve, Thyrza Nichols. “The Cat is My Medium: Notes on Writing and Art of Carloee Schneemann.” Art Journal Open (July 29, 2015).

Carolee Schneemann, Kitch’s Last Meal, 1973–76, Super 8mm film, double projection, vertical, sound on cassette, ca. 5 hrs., two installation views (artwork © Carolee Schneemann; photographs provided by the artist)

Goulish, Matthew. “A Clear Day and No Memories: Neurology, Philosophy, and Analogy in Kerry Tribe’s HM.” Art Journal Open (February 5, 2014).

Eadward Muybridge, Pi-Wi-Ack, Valley of the Yosemite (Shower of Stars), “Vernal Fall,” 400 Feet Fall, No. 29, 1872, wet-plate collodion photograph (photograph in the public domain)

Graham, Amanda Jane. “Space Travels: Trisha Brown’s Locus.” Art Journal Open (July 22, 2016).

Trisha Brown, Locus Solo, 2011, performed by Diane Madden in “Performance 11: OnLine/Trisha Brown Dance Company” in conjunction with the exhibition On Line: Drawing through the Twentieth Century, Museum of Modern Art, New York, January 2011 (photographs © Yi-Chun Wu; photographs provided by Museum of Modern Art/Licensed by SCALA/Art Resource, NY)

Jenkinson, Monique. “Diva Maw.” Art Journal Open (October 29, 2020).

Monique Jenkinson (Fauxnique), Diva Maw, 2020, digital video, 5:35 min.; soundtrack by Marc Kate, Untitled (“Diva Maw” Soundtrack), 2020, audio file (video © Monique Jenkinson; soundtrack © Marc Kate)

Kauffman, Vanessa. “Outside of Time: Patricia Fernández Carcedo in Conversation with Vanessa Kauffman.” Art Journal Open (August 12, 2016).

Visitors in Patricia Fernández Carcedo’s studio during Headlands’ Fall 2015 Open House (artwork © Patricia Fernández Carcedo; photograph by Rebecca Puretz, provided by Headlands Center for the Arts)

Laser, Liz Magic and Christopher Y. Lew. “InterAct: a reenacted interview.” Art Journal Open (May 4, 2011)

Liz Magic Laser, Flight, 2010, performance, MoMA PS1, Long Island City, April 10, 2010 (artwork © Liz Magic Laser; photograph by Mia Tramz, provided by Derek Eller Gallery). The performance was developed in collaboration with actors Lindsey Andersen, Nic Grelli, Elizabeth Hodur, Michael Wiener, Max Woertendyke, and Lia Woertendyke

Lee, Young Jean. “Women in Downtown Theater.” Art Journal Open (August 26, 2012).
Leeson, Lynn Hershman. “Excerpts from the Graphic Novel !Women Art Revolution—A Secret History.” Art Journal Open (May 29, 2011)
Mann, Elana. One day I will make a mace, but for now I have a mouth.” Art Journal Open (September 30, 2021).

Elana Mann, Unidentified Bright Object #61, 2021, clay, wood, and glass, 14 ½ x 3 ½ x 3 ¾ in. (36.8 x 8.9 x 9.5 cm) (artwork © Elana Mann; photographs by Brica Wilcox)

Masley-Charlet, Caitlin. “Caitlin Masley-Charlet in Conversation with Elisabeth Smolarz.” Art Journal Open (June 5, 2018).

Elisabeth Smolarz, ENCYCLOPEDIA OF THINGS, ongoing 2014–2017. Archival inkjet prints, dimensions variable. Courtesy of the artist.

Masley-Charlet, Caitlin. “Caitlin Masley-Charlet and Diana Shpungin in Conversation.” Art Journal Open (July 8, 2016).

Diana Shpungin, detail of A Break in One and Several Places, 2015, graphite pencil, horsehair broom, glazed porcelain and stoneware, 24 x 43 x 14 in. (60.9 x 109.2 x 35.5 cm) (artwork © Diana Shpungin)

McKee, C.C. “‘a salting of sorts’: Salt, Sea, and Affective Form in the work of Deborah Jack.” Art Journal Open (July 30, 2019).

Deborah Jack, SHORE, 2004, nylon screens, video projection, rock salt, reflecting pool, dimensions variable, installation view, Big Orbit Gallery, Buffalo, New York (artwork © Deborah Jack; photograph provided by the artist)

McClure, Michael Jay. “If it Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case.” Art Journal Open (July 29, 2013).

Trisha Donnelly, Untitled, 2008, plaster, horsehair, paint, pillow, belts, lamp, two parts, ea. 36 x 60 x 22¾ in. (91.4 x 152.4 x 57.8 cm), installation view, The Quick and the Dead, Walker Art Center, 2009 (artwork © Trisha Donnelly; photograph provided by Casey Kaplan, New York)

Ohsawa, Asuka. “Squares, Triangles, and Cats.” Art Journal Open (December 31, 2020).
Porges, Maria. “Shortest Stories.” Art Journal Open (December 20, 2018).
Rosa, María Laura. Questions of Identity: Photographic Series by Alicia D’Amico, 1983–86.” Art Journal Open (July 2, 2019).

Alicia D’Amico photograph of Liliana, a performance by Liliana Mizrahi, 1983, scanned copy of original negative, reproduction from original 35mm negative contact (photograph © Archivo Alicia D’Amico, Buenos Aires)

Santos, Dorothy R. “ Domain Errors.” Art Journal Open (July 24, 2020).
Schiff, Karen L. “Imprinting Agnes Martin.” Art Journal Open (December 19, 2014).

Karen L. Schiff, Agnes Martin, El País, 21 December 2004, II, 2005, graphite and stylus on vellum, 17 x 12 inches (artwork © Karen L. Schiff)

Sifuentes, Aram Han. “Official Unofficial Voting Station: Voting for All Who Legally Can’t.” Art Journal Open (October 1, 2020).

Protest Banner Lending Library, Let Us Vote! and Official Unofficial Voting Station, 2020, textile banners (photograph by Thaib A. Wahab)

Szymanek, Angelique. “Haptic Encounters: Margarita Cabera’s Space in Between.” Art Journal Open (October 15, 2020).

Margarita Cabrera, Sewing Machine (Blue-Green), 2016, vinyl, thread, copper wire, and appliance parts (artwork © 2020 Margarita Cabrera/Licensed by VAGA at Artists Rights Society [ARS], NY; photograph provided by the artist)

Vlassopoulou, Penelope. “No water, Athens, Greece, 2015: Twenty-four hours with nothing to eat or drink, only smelling the jasmine.” Art Journal Open (October 26, 2016).

 Excerpt from Pandelis Prevelakis, I Kefali tis Medousas [The Head of Medusa] (Athens: Friends’ Editions, 1963), trans. the artist and Markus Nystrom

Watt, Marie. “In Conversation with Marie Watt: A New Coyote Tale.” Art Journal Open (October 19, 2017).

Marie Watt, Blanket Stories: Transportation Object, Generous Ones, Trek, 2014, cast bronze, 18 x 4 x 6 ft. (5.49 x 1.22 x 1.83 m). Permanent installation, Tacoma Art Museum, Tacoma, Washington (artwork © Marie Watt; photograph by Benjamin Benschneider/OTTO)

Wilson, Siona. Portraits (and) Matter.” Art Journal Open (January 13, 2022).
Yoshitake, Mika. “Humans have been Human for so long: Shana Lutker and Mika Yoshitake in Conversation.” Art Journal Open (August 2, 2016).

Shana Lutker, A handsome confused puppet, 2015, mirrored glass box, fluorescent lights, wood, marble, casters, 49 x 30 x 19 in. (124.4 x 76.2 x 48.2 cm) (artwork © Shana Lutker; photograph by Cathy Carver)

Yurshansky, Jenny. Hide and Seek.” Art Journal Open (March 25, 2021).

Jenny Yurshansky, Hide and Seek (folded view), 2021, interactive sculpture, inkjet print, 3 3/4 x 3 3/4 x 3 in. (9.5 x 9.5 x 7.6 cm) (photograph provided by the artist) Folk tradition meets revisionist storytelling in Jenny Yurshansky’s printable sculpture


Humanities Advocacy Day

posted by March 18, 2022

March 14 – 15, 2022 Hosted by National Alliance for the Humanities

CAA attended Humanities Advocacy Day this March. The event provides the opportunity to connect with a growing number of humanities advocates from around the country. On March 14, we explored approaches to year-round advocacy on college campuses and in local communities. Shelly C. Lowe, Chair of the National Endowment for the Humanities, discussed her goals and vision for the NEH with Jim Grossman, president of the National Humanities Alliance and executive director of the American Historical Association.

On Humanities Advocacy Day, March 15, meetings were held with House and Senate offices to make a persuasive case for federal funding for the humanities. CAA staff met with representatives from Senator Schumer’s office as well as Representative Nadler’s office. The programs were all held virtually. Learn more.

For more on CAA’s advocacy efforts, click here.
Filed under: Advocacy

CAA has signed on to the Association for Slavic, East European, and Eurasian Studies (ASEEES) statement in opposition to banning scholars based on citizenship. CAA stands by its previous condemnation of Russia’s colonialist aggression and oppression of Ukraine. At the same time, we share concerns about calls for blanket bans on the participation of individual Russians and Belarusians in scholarly events and scholarly exchange. CAA believes that banning Russians and Belarusians based solely on their citizenship goes against our fundamental principles of scholarship, open communication, and dialogue. To read the statement in full, please visit their page.

Filed under: Advocacy

CAA has signed on to the African Studies Association’s statement against Discriminatory Treatment meted out to
Africans, including Scholars and Students, fleeing the war in Ukraine. The Association has received reports that Africans in Ukraine have been turned away from borders and prevented from traveling. They join the African Union and several African leaders in calling for the equal treatment of refugees. To read the statement in full, please visit their page.

Filed under: Advocacy

Women’s History Month and

posted by March 04, 2022

Each week this Women’s History Month, we highlight the rich scholarship and programs produced at CAA that celebrate women in the fields of visual arts and the humanities. This week, we are sharing a bibliography of publications and exhibitions reviewed this past year on our open-access journal that feature women artists and practitioners. also houses rosters of dissertation titles in progress and completed since 2002, many of which have been written by women and focus on topics related to women and feminism in the arts.

This Women’s History Month is also especially significant this year, which is the 50th anniversary of feminism at CAA. To learn more about this history, visit this page. CAA is also collecting archival materials to better understand and document the history of its Committee of Women in the Arts, including the committee’s many collaborations with other affiliate committees and groups, such as the Women’s Caucus for Art, The Feminist Art Project, the Queer Caucus, and many more. Visit this page for more information.

Acevedo-Yates, Carla, editor. Carolina Caycedo: From the Bottom of the River. Chicago and New York: Museum of Contemporary Art Chicago and DelMonico Books/D.A.P., 2020. 

Carolina Caycedo: From the Bottom of the River, installation view, Museum of Contemporary Art Chicago, 2020–21 (photograph by Nathan Keay, © MCA Chicago)

Blanchflower, Melissa, Natalia Grabowska, and Melissa Larner, editors. Faith Ringgold. Serpentine Gallery, London, United Kingdom. Cologne: Walther König, 2019.   

Faith Ringgold, Slave Rape, 1972, installation view, Faith Ringgold, Serpentine Gallery, London, 2019 (artwork © 2019 Faith Ringgold; photograph provided by

Brandow-Faller, Megan. The Female Secession: Art and the Decorative at the Viennese Women’s Academy. University Park, PA: Penn State University Press, 2020.  
Fiell, Charlotte and Clementine Fiell. Women in Design: From Aino Aalto to Eva Ziesel. London: Laurence King Publishing, 2019.  
Harris, Shawnya L. editor. Emma Amos: Color Odyssey. Athens: Georgia Museum of Art, University of Georgia, 2021.  

Emma Amos,  All I Know of Wonder, 2008, oil on linen, African fabric, 70 1/2 x 55 1/2 in. (179.1 x 141 cm), installation view, Emma Amos: Color Odyssey, Georgia Museum of Art, University of Georgia, Athens, 2021 (photograph by the author)

Huebner, Karla. Magnetic Woman: Toyen and the Surrealist Erotic. Pittsburgh, PA: University of Pittsburgh Press, 2020.  
Kim, Christine Y. and Rujeko Hockley. Julie Mehretu. New York: Whitney Museum of American Art in association with Prestel, 2019.  

Julie Mehretu, Hineni (E. 3:4), 2018, ink and acrylic on canvas, 96 × 120 in. (243.8 x 304.8 cm). Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle, gift of George Economou, 2019 (artwork © Julie Mehretu; photograph by Tom Powel Imaging)

Meijling, Jesper and Tigran Haas, editors. Essays on Jane Jacobs. Stockholm: Bokförlaget Stolpe, 2020.  
Mühling, Matthias and Stephanie Weber, editors. Senga Nengudi: Topologies. Munich: Hirmer, 2021.  

Senga Nengudi, Warp Trance, 2007, multi-channel audio/video installation in collaboration with the Fabric Workshop and Museum, Philadelphia, with a sound composition by Butch Morris, installation view, Senga Nengudi: Topologies, Philadelphia Museum of Art, 2021 (photograph © Aaron Igler, provided by the artist and The Fabric Workshop and Museum)

   Nakajima, Izumi. Anti-Action: Post-War Japanese Art and Women Artists (アンチ・アクション: 日本戦後絵画と女性画家). Tokyo: Brücke, 2019.  
Nelson, Andrea editor. The New Woman behind the Camera. Washington, DC: National Gallery of Art, 2020.  
Rose, Pauline. Working against the Grain: Women Sculptors in Britain c.1885–1950. Liverpool, UK: Liverpool University Press, 2020.  
VanDiver, Rebecca. Designing a New Tradition: Loïs Mailou Jones and the Aesthetics of Blackness. University Park, PA: Penn State University Press, 2020.  
Walker, Anna and Laura Mott, editors. Olga de Amaral: To Weave a Rock. Arnoldsche Art Publishers in association with the Museum of Fine Arts, Houston, 2020.  

Olga de Amaral, Brumas, 2013, acrylic, gesso, and cotton on wood, installation view, Olga de Amaral: To Weave a Rock, Cranbrook Art Museum, October 30, 2021–March 20, 2022 (artwork © Olga de Amaral; photograph by P. D. Rearick, image provided by Cranbrook Art Museum)

Filed under: Advocacy,, Publications — Tags:

CAA’s Anti-Colonialism Solidarity Statement

posted by March 02, 2022

On February 24, 2022, we witnessed the onset of military action and invasion of Ukraine. The College Art Association (CAA) strongly condemns colonialist aggression and oppression. We stand with our global colleagues, constituents, and friends who are affected by violence and threats to their safety as they struggle for peace and human rights. We recognize and hold firmly the inherent foundations for freedom, justice, and peace in the world. With peace as a central goal, we strongly condemn the deliberate destruction of heritage sites, destruction of art, and attempted hegemonic erasure of culture and history through the actions of oppressors. We encourage our international community of artists, historians, and designers to respond with care, with the aim to de-escalate the violence; and to use actions and words that will reaffirm peace, universal respect, and observance of the spirit of shared humanity. We invite members of our international community and learned societies to support colleagues, to protect scholarship and, with us, to condemn the atrocities to cultural heritage. Destruction of art and history in any one region is an action of erasure of all shared human histories.

CAA holds deep concern for the safety of working people, academic personnel, students, and the culture of the Ukraine, as well as the Global South, Middle East, and Far East and all our international constituencies affected by violence and uncertainty. We additionally support all BIPOC students and peoples and their equal treatment. CAA, its board, and its staff will continue to be in contact with affected members and offer support and advocacy. We stand in solidarity with our international arts community to create, analyze, teach, and promote art as an essential part of our institutions and our lives. We hold your safety, peace, and wellbeing at the forefront of our hearts.

CAA is a signatory of the American Historical Association’s letter condemning the Russian invasion of Ukraine. They write, “We vigorously support the Ukrainian nation and its people in their resistance to Russian military aggression and the twisted mythology that President Putin has invented to justify his violation of international norms.” To read this statement in full, please visit their website.

To read more about CAA’s advocacy, visit this page.


Resources for Displaced Scholars and Students


United States

New University in Exile Consortium 

  • The New University in Exile is an expanding group of universities and colleges publicly committed to the belief that the academic community has both the responsibility and capacity to assist persecuted and endangered scholars everywhere and to protect the intellectual capital that is jeopardized when universities and scholars are under assault.
  • The primary mission of the Consortium is to nurture academics who have been persecuted and uprooted by creating a sense of intellectual community among exiled scholars.
  • If you are affiliated with a college or university and would like your institution to take the next step toward becoming a member of the Consortium, email them at There are a few simple criteria for membership, primarily a commitment by your institution to host an endangered scholar. There are no membership dues.

Scholar Rescue Fund

  • The Scholar Rescue Fund launched a Ukraine-specific round of the IIE Emergency Student Fund on Monday, February 28, to provide financial support to Ukrainian students studying at US colleges and universities.

The Paul & Daisy Soros Fellowships

  • The Paul & Daisy Soros Fellowships for New Americans is a scholarship program offered to immigrants and refugees in the United States. In order to qualify for the scholarship program, applicants must be planning to attend a graduate-level degree program at an accredited American university on a full-time basis. The scholarships can be awarded to US citizens whose parents were born abroad or who are not US citizens as well as to individuals who were born abroad but are naturalized citizens, adopted by US citizens, green card holders or refugee status. Those who were born abroad but graduated from an American high school may also be eligible.

The Association for Slavic, East European, & Eurasian Studies (ASEEES)



Scholars at Risk

  • Scholars at Risk works to protect threatened scholars and promote academic freedom around the world.
  • Go to this page to identify ways to help.

The UN Refugee Agency Scholarships

  • A campaign to fund talented refugee scholars.




For colleagues linked to German Universities, the website of DAAD, the German Academic Exchange Service, provides further information concerning Ukraine. The International Office at your university may be eligible for funding to support scholars from Ukraine by linking them to your university.

Albert Einstein German Academic Refugee Initiative (DAFI)

  • Services and opportunities
  • Scholarships
  • The UNHCR of the United Nations administers the Albert Einstein German Academic Refugee Initiative (DAFI) to help refugees afford the cost of post-secondary education. Through the program, recognized refugees can receive free tuition as well as money for books, transportation, housing, and food. The program is open to applicants who hold a secondary school diploma, have demonstrated financial need, enroll in a program where the likelihood of employment is high, and are under 28 years of age. Only one DAFI award is given out per family. Applicants must be from one of the countries specified by the UNHCR. A full list is available on their website.



Central European University, Vienna

  • Visit this link for ways to donate to Ukranian communities, such as housing and hardship support, as well as a new scholarship fund.



University of Bristol Scholarship

  • A scholarship that gives refugees and asylum seekers life-changing access to university education has been expanded, the University of Bristol has announced.

Student Action for Refugees (STAR)

  • STAR campaigns for and supports the creation of scholarships to improve access to university for people who have claimed asylum in the UK. At this link, you can find a list of scholarship opportunities in the UK, together with advice for your application and information about other funding opportunities.

Council of At-Risk Academics (CARA) at Risk UK Universities Network 

  • The Network aims to facilitate cooperation and collaboration between UK higher education institutions in support of persecuted and at-risk academics, and in the defence and promotion of academic and university freedoms worldwide. 125 UK universities are currently working with us to support these aims.


Other Resources

CAA Committees

CAA Affiliated societies:

United Nations Security Council Resolution 2347 (2017)

UNESCO Convention Concerning the Protection of the World Cultural and Natural Heritage

1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict  

Nazar Kozak, “Art Embedded into Protest: Staging the Ukrainian Maidan,” Art Journal 76, no.1 (Spring 2017).


Filed under: Advocacy

CAA has signed on to a statement condemning the many bomb threads received by at least 17 Historically Black Colleges and Universities early this year. As historically contextualized by the AHA, “These crimes are part of a long history of attacks on institutions that serve the Black community—churches, schools, and civil rights organizations—as well as on the individual men, women, and children associated with these institutions. Violent intimidation directed toward Black Americans has a long and bloody history, and recent events suggest that these acts have spawned not only a hateful legacy, but also a current, ongoing threat to the physical safety and emotional well-being of all Black Americans.” To read more visit their website.

Filed under: Advocacy

CAA has signed on to a statement by the American Historical Association condemning the recent violations of the Presidential Records Act. The statement condemns “in the strongest terms former President Donald J. Trump’s reported extensive and repeated violations of the Presidential Records Act of 1978.” “Historians, journalists, and other researchers depend on these records to educate the public and inform future administrations,” the AHA wrote. “These acts of destruction and noncompliance with the Presidential Records Act demonstrate blatant contempt for both the rule of law and the principles of transparency and accountability that constitute the bedrock of our nation’s democracy.”


Filed under: Advocacy

Black History Month and Art Journal Open

posted by February 10, 2022

Each week this Black History Month, we highlight the rich scholarship and programs produced at CAA that celebrate, recognize, and interrogate Black art, history, and experience.  This week, we are sharing a bibliography of articles from our online, open-access journal Art Journal Open that addresses these topics.


Aranke, Sampada. “Objects Made Black.” Art Journal Open (February 9, 2015). Crossover article from Art Journal 73, no. 3 (Fall 2014) reviewing Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, Chicago: University of Chicago Press, 2013.

Baralaye, Ebitenyefa and Glenn Adamson. “The Weight of Matter: Ebitenyefa Baralaye and Glenn Adamson in Conversation.” Art Journal Open (May 20, 2021).

Ebitenyefa Baralaye, Portrait I (multiple views), 2020, salt-glazed stoneware, 25 x 12 x 10 in.
(63.5 x 30.5 x 25.4 cm) (artwork © Ebitenyefa Baralaye; photographs provided by the artist)


Barber, Tiffany E. “Narcissister, a Truly Kinky Artist.” Art Journal Open (March 11, 2020).

Narcissister, Red Riding Hood, 2014, mixed media (photograph provided by the artist).


Best, Makeda. “Interview with Texas Isaiah.” Art Journal Open (April 8, 2021). Crossover article from Art Journal 80, no. 1 (Spring 2021).

Texas Isaiah, don’t kill this vibe, 2018 (artwork © Texas Isaiah; photograph provided by the artist)


Childs, Adienne L. Riffs and Relations: African American Artists and the European Modernist Tradition. Washington, DC and New York: Phillips Collection in association with Rizzoli Electa, 2020.

Sanford Biggers, Negerplastik, 2016, repurposed antique quilt, cotton fabric fragments, tar, and glitter, 81 × 76 3/4 in. (205.7 x 195 cm) (photograph by Todd-White Art Photography, provided by Massimo De Carlo, Milan/London/Hong Kong)


Cunningham, Nijah. “With Each Other.” Art Journal Open (October 14, 2021). Crossover article from Art Journal 80, no. 3 (Fall 2021) reviewing Nicole R. Fleetwood. Marking Time: Art in the Age of Mass Incarceration. Cambridge, MA: Harvard University Press, 2020.

Dally, Jenny and Fred Eversley. “The Object and You: Fred Eversley in Conversation with Jenny Dally.” Art Journal Open (February 25, 2021).

Fred Eversley in his Venice Beach studio, 2018 (photograph by Elon Schoenholz; photograph provided by David Kordansky Gallery, Los Angeles)


 Gaines, Malik. “City after Fifty Years’ Living: LA’s Differences in Relation.” Art Journal Open (July 17, 2012).

Ice Cube Celebrates the Eames, poster, 2011 (artwork © J. Paul Getty Trust)


Gale, Nikita and Jesús Fuenmayor. “Barricades of Silence: Nikita Gale in Conversation with Jesús Fuenmayor.” Art Journal Open (August 20, 2020).

Nikita Gale, INTERCEPTOR, 2019, installation view, Fall Apart: Nikita Gale & Pat O’Neill, Martos Gallery, New York, January 11–February 24, 2019 (artwork © Nikita Gale; photograph by Charles Benton/Martos Gallery, provided by the artist),


Gbadegesin, Olubukola A. “Damon Davis’s Negrophilia: Encounters with Black Death.” Art Journal Open (August 30, 2017).

Damon Davis, Untitled (2), 2015, bookprint, ink, watercolor, adhesive, from the series Negrophilia (artwork © Damon Davis)


Majeed, Risham and Blake Bradford. “Just Being.” Art Journal Open (May 22, 2020).

Albrecht Dürer, Portrait of a Black Man (untitled), 1508, black chalk on paper. Original shown here; the NMAAHC has a reproduction in the Middle Passage galleries.


Raiford, Leigh. “Burning All Illusion: Abstraction, Black Life, and the Unmaking of White Supremacy.” Art Journal Open (January 14, 2021).

Samuel Levi Jones, Joshua, 2016, deconstructed Illinois law books on canvas, 61½ x 77 in. (156.2 x 195.6 cm) (artwork © Samuel Levi Jones; photograph provided by Galerie Lelong)


Sifuentes, Aram Han. “How Internalized White Supremacy Manifests for My BIPOC Students in Art School.” Art Journal Open (July 8, 2021).

Cute Rage Press (Aram Han Sifuentes and Ishita Dharap), detail of Taking Receipts:
A Log of Aggression for People of Color, 2017, color printed spiral-bound book, 8 x 5½ in.
(20.3 x 14 cm) (artwork © Aram Han Sifuentes and Ishita Dharap; photograph by Aram
Han Sifuentes)


Saggese, Jordana Moore, Cauleen Smith, Charles Gaines, Edgar Arceneaux, Howardena Pindell, Michael Ray Charles, and Glenn Ligon. “A Call to Artists.” Art Journal Open (October 26, 2021). Crossover article from Art Journal 80, no. 3 (Fall 2021).


Tani, Ellen Y. “Come Out to Show Them: Speech and Ambivalence in the Work of Steve Reich and Glenn LigonSpeech and Ambivalence in the Work of Steve Reich and Glenn Ligon.” Art Journal Open (December 23, 2019).

Glenn Ligon, Come Out Study #13, 2014, silkscreen on canvas on panel, 36 x 47 7/8 in. (91.4 x 121.6 cm) (artwork © Glenn Ligon; photograph by Ronald Amstutz, provided by the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Chantal Crousel, Paris)


Thompson, Krista. ““I WAS HERE BUT I DISAPEAR”: Ivanhoe “Rhygin” Martin and Photographic Disappearance in Jamaica.” Art Journal Open (August 14, 2018).

Production still from The Harder They Come, 1972, 16mm color film, dir. Perry Henzell, cinematography by Frank St. Juste, David McDonald, and Peter Jessop, produced by International Films / Xenon Pictures (photograph published under fair use)


Williams, Stephanie Sparling. “Artful Embodiment: Genealogies of the Impossible.” Art Journal Open (November 27, 2018). Crossover article from Art Journal 77, no. 3 (Fall 2018) reviewing Uri McMillan, Embodied Avatars: Genealogies of Black Feminist Art and Performance, New York: New York University Press, 2015.
Winslow, Margaret. “Pope.L: The Body and Its Void.” Art Journal Open (January 14, 2021). Crossover article from Art Journal 79, no. 4 (Winter 2020) reviewing member: Pope.L, 1978–2001., exhibition organized by Stuart Comer with Danielle A. Jackson. Museum of Modern Art, New York, October 21, 2019–February 1, 2020.

Zorach, Rebecca. “Art and Soul: An Experimental Friendship between Street and Museum .” Art Journal Open (September 4, 2011).

Art & Soul exterior with Rainbow mural by Sachio Yamashita, 1969 (mural now destroyed) (mural artwork © Eileen Petersen Yamashita, all rights reserved, used with permission; photograph © Ann Zelle)



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