CAA News Today
caa.reviews Seeks Two Editorial Board Members and Field Editors in Seven Areas
posted by CAA — February 08, 2024
caa.reviews seeks two new Editorial Board Members to each serve a four-year term, July 1, 2024–June 30, 2028.
CAA encourages applications from candidates with a strong record of scholarship who are committed to the imaginative development of caa.reviews. An online, open-access journal, caa.reviews is devoted to the peer review of recent 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, guides Field Editors in their process of identifying books, exhibitions, and review authors suitable for the journal, and proposes new initiatives for the journal’s editorial programs. Editorial Board Members stay abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference, as well as other academic conferences, symposia, and events in their fields.
The caa.reviews Editorial Board meets three times a year, twice in the spring and fall and once at the Annual Conference each February. Meetings in the spring and fall are currently held by videoconference, while the February meeting typically occurs in person. Members of all editorial boards at CAA volunteer their services without compensation or financial support for travel to and accommodations at the Annual Conference
Candidates must be current CAA members and should not currently serve on the editorial board of a competing journal or another CAA editorial board or committee. Nominations and self-nominations are welcome. Nominators should ascertain their nominee’s willingness to serve before submitting a letter of nomination. Please email a letter of nomination or self-nomination, describing your nominee’s interest in and qualifications for appointment, the nominee’s CV, and contact information to Eugenia Bell, Editorial Director, ebell@collegeart.org. Please include the subject line caa.reviews Editorial Board Member.
Deadline: Monday, May 6.
CAA is also inviting nominations and self-nominations for individuals to join the caa.reviews Council of Field Editors for a three-year term July 1, 2024–June 30, 2027 (renewable once). An online, open-access 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 with experience writing or editing books and/or exhibition reviews; institutional affiliation is not required.
CAA is searching for Field Editors in the following fields:
- Art of the Ancient Mediterranean, Europe, and West Asia
- Latin American Art
- Photography
- Art of the Ancient Americas
- Exhibitions: Southeast
- Exhibitions: Southwest
- African Art
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 considers 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 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 once a year in February at the CAA Annual Conference. Members of all CAA committees and editorial boards volunteer their services without compensation or financial support for travel to and accommodations at the Annual Conference.
Candidates must be current CAA members and should not be serving on the editorial board of a competing journal or another CAA editorial board or committee. Nominations and self-nominations are welcome. Nominators should ascertain their nominee’s willingness to serve before submitting a letter of nomination. Please email a letter of nomination or self-nomination describing your nominee’s interest in and qualifications for appointment, the nominee’s CV, and contact information to Eugenia Bell, Editorial Director, ebell@collegeart.org. Please include the subject line caa.reviews Field Editor.
Deadline: Monday, May 6.
Join the caa.reviews Council of Field Editors!
posted by CAA — September 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 November 1, to ebell@collegeart.org.
caa.reviews Seeks Field Editors in Ten Areas
posted by CAA — May 16, 2023
CAA is inviting nominations and self-nominations for individuals to join the caa.reviews Council of Field Editors for the three-year term July 1, 2023–June 30, 2026. 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. caa.reviews is seeking Field Editors in the following fields:
- Architectural History, Urban Planning, Historic Preservation, Landscape Architecture
- South and Southeast Asian Art
- Indigenous Art
- Early Modern European Art (South)
- Nineteenth-Century Art
- Twentieth-Century Art
- Contemporary Art
- Cinema, Media, and Performance
- Exhibitions: Northeast
- Exhibitions: New York
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 considers 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 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 once a year in February during the Annual Conference (although attendance at the conference is not necessary to participate in the meeting). 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 a single PDF document to ebell@collegeart.org.
Deadline: June 15, 2023
caa.reviews Seeks Board Member
posted by CAA — March 21, 2023
**THESE POSITIONS HAVE BEEN FILLED. NOMINATIONS ARE CLOSED**
caa.reviews seeks a new Editorial Board Member to fill the post of Emerging Professional, defined as an active member of CAA who is in graduate school or in the first two (2) years of their career. The Emerging Professional will serve a four-year term, July 1, 2023–June 30, 2027.
CAA encourages applications from candidates with a strong record of scholarship who are committed to the imaginative development of caa.reviews. An online journal, caa.reviews is devoted to the peer review of recent 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 and field editors for the journal and helps them to identify books and exhibitions for review and to solicit reviewers, articles, and other content for the journal. The editorial board guides the journal’s editorial program and may propose new initiatives for it. Members stay abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and academic conferences, symposia, and other events in their fields.
The caa.reviews Editorial Board meets three times a year, twice in the spring and fall and once at the CAA Annual Conference in February. Members also attend the annual meeting of the caa.reviews Council of Field Editors at the Annual Conference. Members pay their travel and lodging expenses to attend the meeting at the conference. Meetings in the spring and fall are currently held by teleconference. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members and should not currently serve on the editorial board of a competitive journal or 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 email a statement describing your interest in and qualifications for appointment, a CV, and your contact information to Eugenia Bell, Editorial Director, ebell@collegeart.org. Please include the subject line caa.reviews Emerging Professional.
Deadline: April 30, 2023; finalists will be interviewed in early May.
Pride Month and caa.reviews
posted by CAA — June 02, 2022
This Pride Month, we highlight the rich scholarship and programs produced at CAA that center LGBTQ+ topics, as well as gender and sexual identity, in the fields of visual arts and the humanities. This week, we are sharing a bibliography of publications and exhibitions on these topics reviewed this past year on our open-access journal caa.reviews.
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Arscott, Caroline and Katie Scott, editors. Manifestations of Venus: Art and Sexuality. Manchester: Manchester University Press, 2001. |
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Battcock, Gregory. Oceans of Love: The Uncontainable Gregory Battcock. Ed Joseph Grigely, Cologne, Germany: Verlag der Buchhandlung Walther Konig, 2016. |
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Betancourt, Roland. Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages. Princeton, NJ: Princeton University Press, 2020. |
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Black Sheep Feminism: The Art of Sexual Politics. Dallas: Dallas Contemporary, 2016. |
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Brandt, Amy ed. Tseng Kwong Chi: Performing for the Camera. Norfolk, VA and New York: Chrysler Museum of Art, Grey Art Gallery, New York University, and Lyon Artbooks, 2015. |
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Butler, Connie. Mark Bradford: Scorched Earth. Exh. cat. Los Angeles: Hammer Museum in association with Prestel, 2015.
Mark Bradford. Lights and Tunnels, 2015 (photograph © 2015 Joshua White; provided by Hauser & Wirth) |
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Butt, Gavin. Between You and Me: Queer Disclosures in the New York Art World, 1948–1963. Durham, NC: Duke University Press, 2005.
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De Salvo, Donna. Andy Warhol: From A to B and Back Again. Exh. cat. New Haven and New York: Yale University Press in association with The Whitney Museum of American Art, 2018.
Installation view, Andy Warhol—From A to B and Back Again, Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019 (photograph © 2018 by Ron Amstutz, provided by The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society [ARS], New York) |
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Corn, Wanda M. and Tirza True Latimer. Seeing Gertrude Stein: Five Stories. Exh. cat. Berkeley: University of California Press, 2011.
Henri Matisse. Woman with a Hat (1905). Oil on canvas. 31 3/4 x 23 1/2 in. (80.7 x 59.7 cm). SFMOMA, Bequest of Elise S. Haas. © Succession H. Matisse, Paris / Artists Rights Society (ARS), New York. Photo: Ben Blackwell |
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Doyle, Jennifer. Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press, 2013. |
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Findlen, Paula, Wendy Wassyng Roworth, and Catherine M. Sama, editors. Italy’s Eighteenth Century: Gender and Culture in the Age of the Grand Tour. Stanford: Stanford University Press, 2009. |
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Gallucci, Margaret A. Benvenuto Cellini: Sexuality, Masculinity, and Artistic Identity in Renaissance Italy. New York: Palgrave Macmillan, 2003. |
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Gill, Lyndon K. Erotic Islands: Art and Activism in the Queer Caribbean. Durham, NC: Duke University Press, 2018. |
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Gómez-Barris, Macarena. Beyond the Pink Tide: Art and Political Undercurrents in the Americas. American Studies Now: Critical Histories of the Present. Oakland: University of California Press, 2018. |
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Guyton, Wade. One Month Ago. Edition of 500. New York: Karma, 2014. |
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Johnson, E. Patrick and Ramón H. Rivera-Servera, editors. Blacktino Queer Performance. Durham: Duke University Press, 2016. |
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Jones, Amelia. Seeing Differently: A History and Theory of Identification and the Visual Arts. New York: Routledge, 2012. |
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Jones, Amelia and Erin Silver. Otherwise: Imagining Queer Feminist Art Histories. Manchester: Manchester University Press, 2016.
With follow-up interview between Amelia Jones and David J. Getsy, Abstract Bodies and Otherwise: A Conversation with Amelia Jones and David Getsy on Gender and Sexuality in the Writing of Art History. February 16, 2018 |
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Junge, Sophie. Art about AIDS: Nan Goldin’s Exhibition Witnesses: Against Our Vanishing Berlin: De Gruyter, 2017. |
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Katz, Jonathan David and Rock Hushka, editors. Art AIDS America. Exh. cat. Seattle: Tacoma Art Museum in association with University of Washington Press, 2015.
Courtesy of the Zuckerman Museum of Art. Photos by Mike Jensen |
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Latimer, Tirza True. Eccentric Modernisms: Making Differences in the History of American Art. Oakland: University of California Press, 2016. |
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Murray, Derek Conrad. Queering Post-Black Art: Artists Transforming African-American Identity after Civil Rights. London: I.B. Taurus, 2016. |
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No Wrong Holes: Thirty Years of Nayland Blake. Institute of Contemporary Art, Los Angeles, September 29, 2019–January 26, 2020; MIT List Visual Arts Center (online), Cambridge, MA, October 16, 2020–February 14, 2021.
No Wrong Holes: Thirty Years of Nayland Blake, installation view, MIT List Visual Arts Center, Cambridge, MA, 2020–21 (photograph © Charles Mayer, provided by MIT List Visual Arts Center) |
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Patel, Alpesh Kantilal. Productive Failure: Writing Queer Transnational South Asian Art Histories. Manchester, UK: Manchester University Press, 2017. |
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Rice, Shelley. Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman. Cambridge, Mass.: MIT Press, 1999. |
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Salter, Gregory. Art and Masculinity in Post-War Britain: Reconstructing Home. London: Routledge, 2019. |
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Transamerica/n: Gender, Identity, Appearance Today. McNay Art Museum, San Antonio, June 20–September 15, 2019.
Jacolby Satterwhite, How lovly is me being as I am, 2014, neon, installation view from Transamerica/n: Gender, Identity, Appearance Today, McNay Art Museum, San Antonio, 2019 (artwork © Jacolby Satterwhite; photograph provided by the artist and Morán Morán, Los Angeles) |
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Tony Greene: Room of Advances. MAK Center for Art and Architecture, Schindler House, Los Angeles, June 18–September 7, 2014.
Tony Greene. His Puerile Gestures (1989). Mixed Media. 25 1/2 x 29 3/4 in. Collection of Ray Morales, from the estate of Norm MacNeil |
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Turner, James Grantham. Eros Visible: Art, Sexuality and Antiquity in Renaissance Italy. New Haven: Yale University Press, 2017. |
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Tyburczy, Jennifer. Sex Museums: The Politics and Performance of Display. Chicago: University of Chicago Press, 2016. |
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Zanele Muholi: Isibonelo/Evidence. Brooklyn Museum, New York, May 1–November 8, 2015.
Zanele Muholi: Isibonelo/Evidence. Installation view. Courtesy of the Brooklyn Museum. |
Women’s History Month and caa.reviews
posted by CAA — 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 caa.reviews that feature women artists and practitioners.
caa.reviews 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.
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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) |
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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 readsreads.info) |
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Brandow-Faller, Megan. The Female Secession: Art and the Decorative at the Viennese Women’s Academy. University Park, PA: Penn State University Press, 2020. |
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Fiell, Charlotte and Clementine Fiell. Women in Design: From Aino Aalto to Eva Ziesel. London: Laurence King Publishing, 2019. |
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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) |
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Huebner, Karla. Magnetic Woman: Toyen and the Surrealist Erotic. Pittsburgh, PA: University of Pittsburgh Press, 2020. |
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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) |
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Meijling, Jesper and Tigran Haas, editors. Essays on Jane Jacobs. Stockholm: Bokförlaget Stolpe, 2020. |
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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) |
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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. |
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Nelson, Andrea editor. The New Woman behind the Camera. Washington, DC: National Gallery of Art, 2020. |
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Rose, Pauline. Working against the Grain: Women Sculptors in Britain c.1885–1950. Liverpool, UK: Liverpool University Press, 2020. |
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VanDiver, Rebecca. Designing a New Tradition: Loïs Mailou Jones and the Aesthetics of Blackness. University Park, PA: Penn State University Press, 2020. |
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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) |
Black History Month and caa.reviews
posted by CAA — February 03, 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 publications and exhibitions reviewed on our online, open-access journal caa.reviews from this past year that addresses these topics.
caa.reviews also houses rosters of dissertation titles in progress and completed since 2002 and many long-form essays that intersect with these themes as well, such as current Editor-in-Chief of Art Journal, Eddie Chambers, essay Reflections on African and African Diaspora Art from 2016.
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)
Choi, Connie H., Thelma Golden, and Kellie Jones. Black Refractions: Highlights from the Studio Museum in Harlem. New York: Rizzoli Electa, 2019.
Jordan Casteel, Kevin the Kiteman, 2016, oil on canvas, 78 x 78 in. (198.1 x 198.1 cm). The Studio Museum in Harlem, New York, Museum purchase with funds provided by the Acquisition Committee 2016.37 (artwork © Jordan Casteel; photograph by Adam Reich, provided by American Federation of Arts)
Cohen, Joshua I. The “Black Art” Renaissance: African Sculpture and Modernism across Continents. Oakland: University of California Press, 2020.
David Driskell: Icons of Nature and History. Atlanta and New York: High Museum of Art and Rizzoli Electa, 2021.
David Driskell, Young Pines Growing, 1959, oil on canvas. Clark Atlanta University Art Museum, John Hope Franklin Purchase Award (artwork © Estate of David C. Driskell; photograph provided by High Museum of Art)
Diouf, Mamadou and Maureen Murphy, editors. Déborder la négritude: Arts, politique et société à Dakar. Dijon. France: Les presses du réel, 2020.
Fleetwood, Nicole R. Marking Time: Art in the Age of Mass Incarceration. Cambridge, MA: Harvard University Press, 2020.
Gonzalez, Aston. Visualizing Equality: African American Rights and Visual Culture in the Nineteenth Century. John Hope Franklin Series in African American History and Culture. Chapel Hill: University of North Carolina Press, 2020.
Hank Willis Thomas: All Things Being Equal . . . New York and Portland, OR: Aperture Foundation in association with Portland Art Museum, 2018.
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)
Jarrell, Wadsworth A. AFRICOBRA: Experimental Art toward a School of Thought. Durham, NC: Duke University Press, 2020.
Monahan, Anne. Horace Pippin, American Modern. New Haven, CT: Yale University Press, 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)
No Wrong Holes: Thirty Years of Nayland Blake. Los Angeles and Cambridge, MA: Institute of Contemporary Art and MIT List Visual Arts Center (online), 2020.
No Wrong Holes: Thirty Years of Nayland Blake, installation view, MIT List Visual Arts Center, Cambridge, MA, 2020–21 (photograph © Charles Mayer, provided by MIT List Visual Arts Center)
Oliver, Valerie Cassel. The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse. Richmond, VA and Durham, NC: Virginia Museum of Fine Arts in association with Duke University Press, 2021.
Rodney McMillian, Asterisks in Dockery (Blues for Smoke), 2021, vinyl, thread, wood, paint, lightbulb, installation view, The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse, Virginia Museum of Fine Arts, 2021 (photograph © Sandra Sellars, provided by Virginia Museum of Fine Arts)
Powell, Richard J. Going There: Black Visual Satire. Cambridge, MA and New Haven, CT: Hutchins Center for African & African American Research in association with Yale University Press, 2020.
Thomas, Sarah. Witnessing Slavery: Art and Travel in the Age of Abolition. London and New Haven: Paul Mellon Centre for Studies in British Art in association with Yale University Press, 2019.
Tuite, Diana, editor. Bob Thompson: This House Is Mine. Waterville, ME and New Haven, CT: Colby College Museum of Art in association with Yale University Press, 2021.
Bob Thompson, The Snook (The Sack), 1961, oil on canvas, 23 1/2 x 36 in. (59.7 x 91.4 cm). Collection of Andrew Nelson (© Michael Rosenfeld Gallery LLC, New York)
VanDiver, Rebecca. Designing a New Tradition: Loïs Mailou Jones and the Aesthetics of Blackness. University Park, PA: Penn State University Press, 2020.
CAA 2021: A look back on the past year’s programming, publications, and opportunities
posted by CAA — November 30, 2021
CAA has produced this reel with a compilation of events, scholarship, programs, and initiatives CAA from the last year. See below for a full list of each item (in order of appearance in the video) with links to learn more.
Programming:
CAA’s first virtual Annual Conference
Mariam Ghani in conversation with Laura Anderson Barbata
In Conversation with Dr. Nancy Odegaard
Theresa Avila, Annual Conference Program Chair in conversation with Meme Omogbai
An Inaugural Evening with CAA Distinguished Awardees and Artists
CAA Then & Now: Reflections on the Centennial Book and the Next Century
Karen Leader, author of Chapter 12: Advocacy
Opportunities:
Publication, travel, and support grants
Publications and Publications Programming:
Artist Project, Elana Mann for Art Journal Open
Roundtable discussion for Art Journal Open, Holding Space…
Art Journal and The Art Bulletin
caa.reviews book and exhibition reviews
caa.reviews’s dissertation roster, 2020
Global Programs
CAA-Getty International Program
CAA-Getty 10-Year International Program online publication
Podcasts
CAA Conversations by CAA’s Education Committee
CAA’s 110th Annual Conference will take place in Chicago from February 17-19, followed by virtual live sessions to be held in Zoom from March 3-5. For more information and to register go to this link.
Announcing the Appointment of Two New Editors for CAA Publications
posted by CAA — July 23, 2021
We’re pleased to announce the appointment of two new editors for CAA publications: Christy Anderson, was selected to be Editor-in-Chief of The Art Bulletin. Balbir Singh will take the post as Reviews Editor of Art Journal. They begin their three-year terms July 1, 2022. Learn more about their work below.
EDITOR BIOGRAPHIES
Christy Anderson | Incoming Editor-in-Chief of The Art Bulletin
Christy Anderson is an architectural historian with a special interest in the buildings of Renaissance and Baroque Europe. Professor Anderson has taught at Yale University, the Courtauld Institute, MIT, and the University of Toronto. At Yale she received a Morse Faculty Fellowship as well as numerous teaching prizes. She received her Ph.D. from the School of Architecture at the Massachusetts Institute of Technology. As a Kress Fellow at the Courtauld Institute of Art and later as a Research Fellow at Worcester College, Oxford University, she studied the annotations made by the English architect Inigo Jones (1573–1652) in his collection of treatises and humanist literature. This work on literacy, architectural language, and the construction of the professional architect appeared in her book Inigo Jones and the Classical Tradition (Cambridge, 2006).
Learn more about The Art Bulletin.
Balbir Singh | Incoming Reviews Editor of Art Journal
Balbir Singh’s scholarship focuses on the convergence of racial, gendered, and religious embodiment, with migration and policing under violent conditions of imperial and domestic security technologies. She is at work on her first book, “Militant Bodies: Violence and Visual Culture under Islamophobia,” which is rooted in questions that center post-9/11 racial and religious hyper-policing of Muslims and Sikhs, especially as they relate to bodily comportment and the donning of religious garments. Additionally, she is beginning research on a second book project — “Whose Terror? Vexed Attachments and the Contradictions of Freedom.”
Apply to Serve on CAA’s Editorial Boards!
posted by Allison Walters — February 19, 2021
This time of year, members have the opportunity to provide an important contribution to CAA’s four journals—either by serving as a volunteer member of an editorial board or by applying to be an editor-in-chief or reviews editor.
Below are 14 opportunities to help shape the editorial vision of CAA’s publications.
Any member may self-nominate for the following positions or (after ascertaining interest) nominate another member. For more information, please click on the links below. You may apply for more than one position. The deadline for all applications is April 15, 2021. Terms of service vary, but they all begin July 1, 2021.
The Art Bulletin: 2 Editorial Board members
The Art Bulletin: Editor(s)-in-Chief
Art Journal/AJO: 1 Editorial Board member
Art Journal: Reviews Editor
caa.reviews: 2 Editorial Board members
caa.reviews Council of Field Editors: 7 openings
Early Modern European Art (North)
Latin American Art
Medieval Art
Precolumbian Art
Exhibitions New York
Exhibitions Northwest US
Exhibitions Southeast US