Donate Now
Join Now      Sign In
 

CAA News Today

Black History Month and caa.reviews

posted by 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.

 

 

 

 

 

 

 

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 look forward to the research and scholarship that will be presented virtually at the upcoming Annual Conference. Many sessions feature talks that look at or investigate Blackness, racism, colonialism, neo-colonialism, and slavery, Black identity, theory of race, Afrofuturism, queerness, the African diaspora, and  intersections between these topics.

 

In chronological order:

 

February 17-19:

Reimagining the Past alongside Black Women Artists, Thursday, February 17, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

Latinx Bodies: Presence/absence and representation (Part 1) , Thursday, February 17, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

To See, to Keep, to Know: Photography and Intergenerational Knowledge Production, Thursday, February 17, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)

Archive, Object, Image: Reading Against the Grain in the Dutch and Spanish “Golden Ages,” , Thursday, February 17, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)

U.S. Latinx Art, Pre-1950 ,Thursday, February 17, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)

Latinx Bodies: Presence/Absence and Representation (Part 2) , Thursday, February 17, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

Haunting and Memory in Arts of Africa and the African Diaspora , Friday, February 18, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

The air we breathe: aesthetics and politics of the breath in transpacific and transatlantic visual cultures ,Friday, February 18, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

Flipping the Script , Friday, February 18, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

(re)activation of Exhibitions as sites of contestation, Friday, February 18, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)

Decolonial Teaching Methodologies in Digital Arts & Design, Saturday, February 19, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

What’s the “matter” with American Sculpture?, Saturday, February 19, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

Signs o’ the Times: Music and Politics in Contemporary Art ,Saturday, February 19, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

The Price of Blackness: African American art and visual culture in the first two decades of the Twenty-First Century, Saturday, February 19, 2022, 11:00 – 12:30 p.m. CST (11:00 – 12:30 p.m. EST)

Knowing People: Black Practices in Queer Collaborations, Saturday, February 19, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

‘Heresies’ and Other Mythologies, Saturday, February 19, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

Signs o’ the Times: Music and Politics in Contemporary Art, Part II ,Saturday, February 19, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

Toward an Inclusive Methodology: Experiments in Art Writing,Saturday, February 19, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)

 

March 3-5

Women in Architecture: The African Exchange,Thursday, March 3, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

The Promise of Modern Art and Design: Cold War-Era Art and Diplomacy,Thursday, March 3, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

DESIGN INCUBATION COLLOQUIUM 8.2: RECENT RESEARCH IN COMMUNICATION DESIGN , Thursday, March 3, 2022,9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

Blackness and the Ashcan School, Thursday, March 3, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

Carnival in Africa, Friday, March 4, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

Curatorial Care: Feminist and Queer Practices ,Friday, March 4, 2022,9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST

Reading Kerry James Marshall’s ‘Rythm Mastr’, Friday, March 4, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)

Transnational, Transcultural, Transversal: On the Decolonial Discourse of Art,Friday, March 4, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)

Black Collage, Friday, March 4, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

Abolitionist Aesthetics, Friday, March 4, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)

Art History and Social Justice in Practice ,Friday, March 4, 2022,4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)

Activist Exhibitions, Friday, March 4, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)

On Afro-pessimism and Its Alternatives ,Saturday, March 5, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)

Reconsidering Art History Through Access ,Saturday, March 5, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
New Perspectives in Art, Design, and Art History: Supporting and Showcasing Emerging Voices from Marginalized Communities ,Saturday, March 5, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

New Ways of Seeing ,Saturday, March 5, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)

Botanical Intimacies: Colonialism, Decolonial Practice, and Queered Ecologies , Saturday, March 5, 2022,4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)

 

 

Filed under: Advocacy, Annual Conference — Tags: