CAA News Today
Pride Month and caa.reviews
posted Jun 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. |
