CAA News Today

We’re pleased to announce the appointment of two new editors for CAA publications: Christy Anderson, who will take up her post as Editor-in-Chief of The Art Bulletin, July 2021 – June 2025. Balbir Singh will take up her post as Review Editor of Art Journal, July 2021 – June 2025. Learn more about their work below.

EDITOR BIOGRAPHIES

Christy Anderson | Incoming Editor-in-Chief of The Art Bulletin, July 2021 – June 2025

Christy Anderson 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, July 2021 – June 2025

Balbir SinghBalbir Singh’s scholarship interrogates 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” — theorizing contemporary terror as a vexed political and affective attachment through an intersectional feminist lens.

Learn more about Art Journal.

Mbanza Kongo (São Salvador), capital of the Kingdom of Kongo, mid-18th century

MEET THE GRANTEES

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.

 

Spring 2021 Grantees

Annette de Stecher, Wendat Women’s Art, McGill-Queen’s University Press 

Cécile Fromont, Images on a Mission in Early Modern Kongo and Angola, Pennsylvania State University Press

Sylvia Houghteling, The Art of Cloth in Mughal India, Princeton University Press 

Pamela Karimi,  Alternative Iran: Radical Spatial Strategies in Contemporary Art Practice, Stanford University Press  

Meredith Martin and Gillian Weiss, The Sun King at Sea: Maritime Art and Galley Slavery in Louis XIV’s France, Getty Research Institute 

Ying-Chen Peng, Artful Subversion: Empress Dowager Cixi’s Image Making in Art, Yale University Press   

Yael Rice, Agents of Insight: Artists, Books, and Painting in Mughal South Asia, University of Washington Press  

Sarah-Neel Smith, Metrics of Modernity: Art and Development in Postwar Turkey, University of California Press  

Bert Winther-Tamaki, Tsuchi: An Environmental History of Contemporary Japanese Art, University of Minnesota Press 

We’re pleased to announce the appointment of three new editors for CAA publications: editor designate Eddie Chambers, who will take up his post as Editor-in-Chief of Art Journal, July 2021 – June 2024; Julie Nelson Davis, current Editor-in-Chief of caa.reviews, July 2020 – June 2023; and editor designate Stephanie Porras, who will take up her post as Reviews Editor of The Art Bulletin, July 2021 – June 2024. Learn more about their work below.

EDITOR BIOGRAPHIES

Eddie Chambers | Incoming Editor-in-Chief of Art Journal, July 2021 – June 2024

Eddie Chambers was born in Wolverhampton, England. He gained his PhD from Goldsmiths College, University of London in 1998, for his study of press and other responses to the work of a new generation of Black artists in Britain, active during the 1980s. He joined the Department of Art and Art History at the University of Texas at Austin in January 2010 where he is now a Professor. His books include Things Done Change: The Cultural Politics of Recent Black Artists in Britain (Rodopi Editions, Amsterdam and New York, 2012), Black Artists in British Art: A History Since the 1950s, (I. B. Tauris, London and New York, 2014, reissued 2015), and Roots & Culture: Cultural Politics in the Making of Black Britain, published 2017 (I. B. Tauris/Bloomsbury). He is the editor of the recently-published Routledge Companion to African American Art History. His forthcoming book is World is Africa: Writings on Diaspora Art (Bloomsbury, 2021).

Learn more about Art Journal.

Julie Nelson Davis | Current Editor-in-Chief of caa.reviews, July 2020 – June 2023

Julie Nelson Davis is Professor of the History of Modern Asian Art at the University of Pennsylvania. Recognized as one of the world’s foremost authorities on Japanese prints and illustrated books, Davis teaches a wide range of courses on East Asian art and material culture in the greater global context. After receiving her BA from Reed College, Davis completed her MA and PhD from the University of Washington and studied at Gakushūin University in Tokyo. She is author of Utamaro and the Spectacle of Beauty (Reaktion Books, 2007 and 2021), Partners in Print: Artistic Collaboration and the Ukiyo-e Market (University of Hawai’i Press, 2015), and Picturing the Floating World: Ukiyo-e in Context (in press). Davis was recently a guest curator for the Freer and Sackler Galleries for an exhibition on Utamaro (2017) and is preparing an exhibition of Japanese illustrated books at the University of Pennsylvania. She is currently working on a new project on issues of imitation, homage, and fakery in early modern Japanese art and their legacies into the present. In addition to her tenure as caa.reviews Editor-in-Chief from 2020 to 2023, Davis served as the field editor for Japanese art from 2001 to 2010 and a board member from 2007 to 2011.

Learn more about caa.reviews.

Stephanie Porras | Incoming Reviews Editor of The Art Bulletin, July 2021 – June 2024

Stephanie Porras is Associate professor of Art History in the Newcomb Art Department at Tulane University, specializing in early modern art made in Northern Europe and across the Spanish world. Author of Pieter Bruegel’s Historical Imagination (Pennsylvania State University Press, 2016) and Northern Renaissance Art: Courts, Commerce, Devotion (Laurence King, 2018), Porras has also published widely on topics ranging from Albrecht Dürer’s drawings to Hispano-Philippine ivories. Her current book project, The First Viral Images considers the mobility of early modern artworks and their role in processes of globalization, and has been supported by fellowships at the New York Public Library, the Sterling and Francine Clark Art Institute, and the Center for Advanced Study in the Visual Arts at the National Gallery of Art.

Learn more about The Art Bulletin.

Former CAA Interim Director David Raizman and Denise Murrell, who received the Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions for her catalog Posing Modernity: The Black Model From Manet and Matisse to Today, at the 2020 Annual Conference in Chicago. Photo: Stacey Rupolo

CAA invites nominations and self-nominations for individuals to serve on our Awards for Distinction, Publication Grant, Fellowship, and Travel Grant juries. Terms begin August 2020.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2020. CAA’s president and vice president for committees appoint jury members for service.

Awards for Distinction Juries

CAA has vacancies in ten of the fourteen juries for the annual Awards for Distinction for three years (2020–23). Terms begin in August 2020; award years are 2021–23.

  • Alfred H. Barr Jr. Award for museum scholarship in the history of art/Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions for museum scholarship in the history of art published by smaller institutions: two vacancies
  • Frank Jewett Mather Award for art criticism: two vacancies
  • Charles Rufus Morey Book Award for non-catalogue books in the history of art: one vacancy
  • Arthur Kingsley Porter Prize for articles written by younger scholars in The Art Bulletin: one vacancy
  • Artist Award for Distinguished Body of Work: two vacancies
  • Distinguished Artist Award for Lifetime Achievement: one vacancy
  • Distinguished Feminist Awards for Scholars and Artists: one vacancy
  • Distinguished Teaching of Art History Award: one vacancy
  • Excellence in Diversity Award: four vacancies

Publication Grant Juries

CAA has vacancies on our Millard Meiss Publication Fund grant jury for four years (2020–24) and the Terra Foundation for American Art Publication Grant jury for one year (2020-21).

  • Millard Meiss Publication Fund: three vacancies
  • Terra Foundation for American Art Publication Grant: one vacancy

Professional Development Fellowship Juries

CAA has vacancies on our Professional Development Fellowship juries for three years (2020–23). Terms begin August 2020.

  • Professional Development Fellowship in Visual Arts: three vacancies
  • Professional Development Fellowship in Art History: two vacancies

Travel Grant Juries

CAA has vacancies on our Art History Fund for Travel to Special Exhibitions jury for three years (2020–23). Terms begin August 2020.

  • Art History Fund for Travel to Special Exhibitions: two vacancies

HOW TO APPLY

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley (cbuckley@collegeart.org), CAA grants and special programs manager; submissions must be sent as Microsoft Word or Adobe PDF attachments.

For questions about jury service and responsibilities, contact Tiffany Dugan (tdugan@collegeart.org), CAA director of programs and publications.

Deadline: July 31, 2020 

Nicole Archer.

We’re delighted to introduce readers to Nicole Archer, the current Editor-in-Chief of Art Journal Open (AJO), CAA’s online forum for the visual arts that presents artists’ projects, conversations and interviews, scholarly essays, and other forms of content from across the cultural field. Founded in 2012 as an open-access affiliate of Art JournalArt Journal Open has been independently edited since 2014. It remains open access and is always free to explore.

Nicole Archer researches contemporary art and design, with an emphasis in textile and garment histories. She is an Assistant Professor in the Department of Art and Design at Montclair State University, where she extends this research through a teaching practice that encourages students to explore politics and aesthetics via close examinations of style, embodiment, and desire.

Amidst the end of the academic year, we corresponded with her over email to learn more about her research, her thoughts on the impact of COVID-19, and her aspirations for Art Journal Open.


Where are you from originally?

I was born in Brooklyn and raised mainly in South Florida, but I spent most of my adult life in San Francisco. In 2018, I returned to New York City.

What pathways led you to the work you do now?

My path has been shaped by a long line of committed feminist art historians, theorists, and activists who have inspired me to pursue work that is wildly curious, ethically responsible, and politically committed to issues of social justice. This, coupled with the fact that I started my college career in the mid-1990s, when the field of Visual Studies was demanding that Art History be held accountable for the role it played in supporting certain cultural hegemonies. It was a time when we were recognizing the benefit that many art historical methods could bring to critical cultural studies (and vice versa).

When did you first become a CAA member?

I have been a CAA member since 2011, but I was an avid reader of Art Journal and The Art Bulletin long before that (thanks to my library access).

What are you working on or thinking about currently?

I am currently finishing a book manuscript that considers how textiles (our key mediums of comfort and security) have been strategically manipulated over the last two decades to aid in the systematic reshaping of what constitutes “legitimate” versus “illegitimate” forms of state violence. The book tells interwoven, materially grounded stories regarding global arts and design practice, on the one hand, and military, police, and governmental action, on the other, to theorize how feelings of insecurity are produced, aesthetically.

My path has been shaped by a long line of committed feminist art historians, theorists, and activists who have inspired me to pursue work that is wildly curious, ethically responsible, and politically committed to issues of social justice.

What are your thoughts on the impact of COVID-19 on the work you do? On the field?

I think the current pandemic makes two things particularly clear. First, it highlights the important role that art and design can play in helping a society understand (and bear) emergent and acutely difficult circumstances. From movie marathons, artist talks, and book readings that we have enjoyed during our nights spent ‘sheltering in place,’ to the protest banners, photographs, and balcony performances that have led our communities towards acts of collective care and solidarity with one another.

Second, COVID-19 puts the varied inequities that underwrite the field in high relief. It makes the economic precarity of so many cultural workers glaringly obvious, and it forces us to recognize how undervalued cultural work actually is. We need to ask why we have allowed the arts to become so defunded and privatized (despite the social value it clearly delivers). Calls for austerity are circulating, and we know this means further cuts to already underfunded public arts initiatives. We need to resist this and seize this moment as an opportunity to insist on our value. We need to stop undercutting ourselves and our peers, and refuse to accept the exploitation of adjunct professors and graduate student teachers. We must do this as we push against the increasingly prohibitive costs of arts education.

What led you to be interested in working on Art Journal Open?

It is our shared responsibility, as arts and design professionals, to constantly “check” our field of practice—to find time to celebrate what we are doing well, and to redress and learn from our shortcomings. I believe this responsibility is a cornerstone of AJO’s editorial mission. Working on AJO is a unique opportunity to hold myself, and others, accountable on this front.

What is your vision for Art Journal Open during your tenure?

I hope to build on the solid foundation laid by the journal’s previous editors, and to further emphasize the open dimension of the publication’s identity—to treat “Open” as a verb, a call to action. We hope to accomplish this by leveraging the journal’s digital format, to open space for more multi-media Creative Projects, and to take advantage of our lack-of-paywall to help draw new readers to AJO and new voices to CAA.

The first three pieces published after Nicole Archer fully took over as Editor-in-Chief of Art Journal Open.

What would you say is your top arts-related recommendation (book, website, resource) at the moment?

I know I am late to this, but I recently found an online radio station called NTS and it is giving me life! I miss trusting my night to a DJ, hearing a new song out of nowhere, and dancing with strangers. I am also tired of soundscapes controlled by algorithms. People should give it a listen in their studios and kitchens, and at their computers and writing desks.

 

View this post on Instagram

 

A post shared by The Fabric Workshop and Museum (@fabricworkshop) on

A favorite artwork?

Last year, I had the opportunity to see Sonya Clark’s Monumental Cloth, The Flag We Should Know at the Fabric Workshop and Museum in Philadelphia, and I have not been able to stop thinking about it since. Clark’s work epitomizes the important role art can play in ensuring that political discourse maintains its complexity in the face of a mediascape set on transforming these conversations into flat lines in the sand.

At the center of the exhibit was a monumental replica (15’x30’) of a white dish towel waived by Confederate troops in April 1865, before General E. Lee negotiated the terms of the Confederacy’s surrender. Displayed in a manner akin to the Star Spangled Banner (a centerpiece of the Smithsonian National Museum of American History’s collection), Monumental Cloth presented the Confederate Truce Flag as testament to a decisive moment in US history. It demanded that we ask why we do not know this flag, as a means to discuss anti-Blackness and the persistence of white supremacy in the United States. It provided a poignant, aesthetic counterstrategy to other manners of “memorializing” the Confederacy. The exhibit offered spaces of contemplation alongside opportunities for direct action—by setting-up looms that visitors could use to weave additional Truce Flag replicas, in opposition to the endless flow of commercially produced items made to bear the image of the Confederate Battle Flag.

What are you looking forward to?

Honestly, I am looking forward to the end of the Trump presidency, and to the possibility that the moment we are in could force real political and cultural change; that conversations around universal basic income and healthcare will gain traction, and that widespread recognition of the systemic racism inherent in the criminal justice system will open the door to both abolishing the prison system and defunding and demilitarizing the police that tyrannize communities of color in the US.

NICOLE ARCHER BIOGRAPHY

Nicole Archer researches contemporary art and design, with an emphasis in textile and garment histories. She is an Assistant Professor in the Department of Art and Design at Montclair State University, where she extends this research through a teaching practice that encourages students to explore politics and aesthetics via close examinations of style, embodiment, and desire.

Her work has been published in various journals, edited collections, and arts publications, including: Criticism: A Quarterly Journal for Literature and the Arts; Textile: The Journal of Cloth and Culture; Trap Door: Trans Cultural Production and the Politics of Visibility (published by the New Museum + MIT Press); Where are the Tiny Revolts? (published by the CCA Wattis Institute for Contemporary Arts + Sternberg Press); Women and Performance: A Journal of Feminist Theory.


Explore Art Journal Open.

Filed under: AJO, Art History, CAA Conversations, Publications — Tags:

CAA invites nominations and self-nominations for a field editor in the area of East Asian Art for the caa.reviews Council of Field Editors for a three-year term July 1, 2020–June 30, 2023. 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.

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 yearly at the CAA Annual Conference. Field editors must pay travel and lodging expenses to attend the 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 competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please email a statement describing your interest in and qualifications for appointment, a CV, and your contact information to managing editor Joan Strasbaugh, jstrasbaugh@collegeart.org. In the subject line please include Field Editor, East Asian Art.

Deadline (extended): June 1, 2020

← Explore other opportunities for Professional Service

Filed under: caa.reviews, Publications, Service

Attendees at the 2020 Annual Conference in Chicago. Photo: Stacey Rupolo

Each spring, members have the opportunity to provide crucial service to the field and gain an inside view by volunteering to work on a CAA committee or editorial board.

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.

CURRENT OPPORTUNITIES

Art Journal—Editor-In-Chief
Deadline (extended): June 1, 2020

caa.reviews—Field Editor for East Asian Art
Deadline (extended): June 1, 2020

Publications Committee—Two Members
Deadline (extended): June 1, 2020

PAST OPPORTUNITIES

Art Journal / Art Journal Open (AJO) Editorial Board—Three Members
Deadline: April 15, 2020

The Art Bulletin Editorial Board—One Member
Deadline: April 15, 2020

The Art Bulletin—One Reviews Editor or Coeditor Team
Deadline: April 15, 2020

caa.reviews Editorial Board—Three Members (One an Emerging Professional)
Deadline: April 15, 2020

caa.reviews—Eight Field Editors
African Art, African Diaspora/African American Art, Architecture and Urban Planning, Asian Art, Contemporary Art, Exhibitions: East Coast, Exhibitions: Midwest, Exhibitions: West Coast
Deadline: April 15, 2020

CAA invites nominations and self-nominations for two individuals to serve on the Art Journal / AJO Editorial Board for a three-and-one-half-year term: January 1, 2020–June 30, 2023 Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture. AJO is an online forum for the visual arts that presents artists’ projects, conversations and interviews, scholarly essays, and other forms of original content. Committed to fostering new intellectual exchanges in the fields of modern and contemporary art, AJO prioritizes material that makes meaningful use of the web and publishes on a rolling basis.

The editorial board advises the Art Journal and AJO editors-in-chief and assists them in seeking authors, articles, artists’ projects, and other content for the journal; performs peer review and recommends peer reviewers; guides the journals’ editorial programs and may propose new initiatives for them; promotes and advocates for both journals; and may support fundraising efforts on their behalf. Members also assist the editors-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, exhibitions, and events.

The Art Journal / AJO Editorial Board meets three times a year, with meetings in the spring and fall plus one at the CAA Annual Conference in February. The fall and spring meetings are currently held by teleconference. Members are expected to pay travel and lodging expenses to attend the conference in February. Members of all editorial boards volunteer their services to CAA without compensation.

Candidates must be current CAA members in good standing and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journals during the term of service. CAA encourages applications from colleagues who will contribute to the diversity of perspectives on the Art Journal / AJO Editorial Board and who will engage actively with conversations about the discipline’s engagements with differences of culture, religion, nationality, race, gender, sexuality, and access. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your or your nominee’s interest in and qualifications for appointment, a CV, and your contact information to Joan Strasbaugh, Managing Editor, at JStrasbaugh@collegeart.org or c/o CAA, 50 Broadway, 21st floor, New York, NY 10004.

Deadline: Sunday, December 8, 2019

Filed under: Art Journal, Publications

In celebration of Indigenous Peoples’ Day we have brought out from behind the paywall two issues of Art Journal in their entirety: our Summer 2017 issue on Indigenous Futures, (featuring Postcommodity’s Repellent Fence on the cover) and our Fall 1992 issue on Recent Native American Art. Articles from each will be open access until the end of October.

Explore Indigenous Futures (2017)

Explore Recent Native American Art (1992)

The Millard Meiss Publication Fund is made possible by a generous bequest of the late Prof. Millard Meiss. Two times each year, CAA awards grants to publishers in art history and visual culture to support presses in the publication of projects of the highest scholarly and intellectual merit that may not generate adequate financial return.

The Meiss grantees for spring 2019 are:

Bajorek, Jennifer, Unfixed: Photography and Decolonial Imagination in West Africa, Duke University Press, 2019.

Busbea, Larry, The Responsive Environment: Design, Aesthetics, and the Human in the 1970s, University of Minnesota Press, 2019.

Fozi, Shirin, Romanesque Tomb Effigies: Death and Redemption in Medieval Europe, 1000-1200, Penn State University Press, 2020.

Guinness, Katherine, Schizogenesis: The Art of Rosemarie Trockel, University of Minnesota Press, 2019.

Naoi, Nozomi, Beyond the Modern Beauty: Takehisa Yumeji and the New Mediascape of Early Twentieth-Century Japan, University of Washington Press, 2019.

Newbury, Susanna, Speculations: Art, Real Estate, and the Making of Global Los Angeles, University of Minnesota Press, 2020.

Overton, Keelan, Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400-1700, Indiana University Press, 2020.

Schwartz, Vanessa R., Jet Age Aesthetic: The Glamour of Media in Motion, Yale University Press, 2020.

Sichel, Kim, Making Strange: The Modernist Photobook in France, Yale University Press, 2020.

Silberstein, Rachel, Embroidered Figures: Fashion and Commerce in Nineteenth-Century China, University of Washington Press, 2020.

VanDiver, Rebecca, Negotiating Traditions: Loïs Mailou Jones and the Composite Aesthetics of Blackness, Penn State University Press, 2020.

Zinman, Gregory Austen, Making Images Move: Handmade Cinema and the Other Arts, University of California Press, 2020.

Learn more about the Millard Meiss Publication Fund.