CAA News Today
CAA Publications Need You—Apply to Serve on a Journal!
posted by CAA — March 21, 2025
Be a part of the beating heart of CAA! All four of CAA’s Field-Leading Publications are seeking candidates to fill several Board seats and editorial positions!
- Art Journal Open is seeking an Editor-in-Chief to serve a three-year term
- Art Journal is seeking a Reviews Editor to serve a three-year term
- The Art Bulletin is seeking two (2) Editorial Board Members to serve four-year terms
- caa.reviews is seeking a new Editor-in-Chief to serve a three-year term and Field Editors in three areas to serve three-year terms.
Descriptions of the roles, expectations, and detailed application instructions are provided in the links above.
Deadline: April 18
Call for Nominations: Council of Field Editors (caa.reviews)
posted by CAA — March 21, 2025
caa.reviews invites nominations for individuals to join the Council of Field Editors for a three-year term July 1, 2025–June 30, 2028 (with an option to renew 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 experience writing or editing books and/or exhibition reviews; institutional affiliation is not required.
CAA is searching for Field Editors in the following fields:
- Design History
- Eighteenth-Century Art
- Japanese Art
In collaboration with the caa.reviews Editor-in-Chief, the caa.reviews Editorial Board, and CAA’s staff editor, each Field Editor curates content for review, commissions reviewers, and evaluates manuscripts for publication. Field Editors specializing in books are expected to stay informed about newly released and significant books and related media within their areas of expertise, while those focused on exhibitions should remain updated on current and upcoming exhibitions (along with other related projects) in their respective geographic regions.
The Council of Field Editors meets once a year in February onsite 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 in good standing 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. Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter as a single PDF document to Eugenia Bell, CAA Editorial Director.
Deadline: April 18
Call for Nominations: Editor-in-Chief (caa.reviews)
posted by CAA — March 21, 2025
caa.reviews invites nominations for the position of Editor-in-Chief for the term July 1, 2026–June 30, 2029. The three-year term is to be preceded by a one-year term as Editor-in-Chief Designate, July 1, 2025–June 20, 2026, and succeeded by a one-year term as past Editor-in-Chief, July 1, 2029–June 30, 2030.
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 Editor-in-Chief oversees the smooth operations of caa.reviews by ensuring the journal regularly publishes topical, scholarly, critical reviews in the arts; maintains the integrity of the journal by carefully monitoring and implementing the organization’s conflict of interest and ethical policies; and provides extra support to the Editorial Board, Council of Field Editors, and CAA editorial staff wherever necessary to ensure the journal’s operations remain in line with the organization’s overall mission of fostering worldwide access to intellectual and creative material promoting the highest standards of discourse in the disciplines of art and art history.
The Editor-in-Chief attends virtual caa.reviews Editorial Board meetings and Publications Committee meetings via Microsoft Teams in the spring and fall plus three meetings onsite at the CAA Annual Conference in February each year, including the annual Council of Field Editors meeting. The Editor-in-Chief does not receive financial support for travel to and accommodations at the Annual Conference but does receive a yearly stipend.
Candidates must be current CAA members in good standing and should not serve concurrently on the editorial board of a competitive journal or on another CAA editorial board or committee. The Editor-in-Chief may not publish their own work on caa.reviews during the term of service. 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 as a single PDF document to Eugenia Bell, CAA Editorial Director, with the subject line “caa.reviews Editor-in-Chief.”
Deadline: April 18
Call for Nominations: Editor-in-Chief (Art Journal Open)
posted by CAA — March 21, 2025
The Art Journal/Art Journal Open Editorial Board invites nominations for the position of Editor-in-Chief of AJO for the term of July 1, 2026–June 30, 2029 (with service as incoming editor designate, July 1, 2025–June 30, 2026). Candidates may be artists, art historians, critics, curators, educators, or other professionals within the membership served by CAA; institutional affiliation is not required.
AJO is an online forum for the visual arts that presents artists’ projects, conversations and interviews, scholarly essays, and other content from across the cultural field. The independently edited journal publishes original material by artists, scholars, teachers, archivists, curators, critics, and other cultural producers and commentators, with a commitment to foster new intellectual exchanges about contemporary art and culture. AJO is committed to broad representation and the inclusion of a wide range of approaches, methods, and subfields of modern and contemporary art history and art practice. Published on a continual, rolling basis, AJO is an open access journal that reaches a wide, global audience.
The Editor-in-Chief is responsible for commissioning all content for AJO. The editor solicits or commissions projects, texts, and time-based content by artists and other authors, and determines the appropriate scope and format of each project. Working in consultation with the Art Journal Editor-in-Chief, reviews editor, and Editorial Board, the editor determines which pieces should undergo peer review and subsequent revision before acceptance. The editor also works with authors and the CAA staff editor on the development and preparation of materials for publication. The Editorial Board expects that a significant portion of the journal will be geared toward work or concerns of artists, and that the Editor-in-Chief will endeavor to give voice to underrepresented perspectives. Qualifications for the position include a broad knowledge of current art, the ability to work closely with artists in a wide variety of practices, and experience in developing written and other content for arts platforms. The position includes membership on the Editorial Board and, after the orientation period, an annual honorarium.
The Editor-in-Chief attends virtual Art Journal/AJO Editorial Board meetings and Publications Committee meetings via Microsoft Teams in the spring and fall plus two meetings onsite at the CAA Annual Conference in February each year, and submits an annual report to the CAA VP for Publications.
Candidates must be current CAA members in good standing and should not serve concurrently on the editorial board of a competitive journal or on another CAA editorial board or committee. The Editor-in-Chief may not publish their own work on AJO or in Art Journal during the term of service. 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 as a single PDF document to Eugenia Bell, CAA Editorial Director.
Deadline: April 18
Call for Nominations: Reviews Editor (Art Journal/Art Journal Open)
posted by CAA — March 21, 2025
The Art Journal/AJO Editorial Board invites nominations for the position of Reviews Editor for a three-year term, July 1, 2025–June 30, 2028. The candidate may be an artist, art historian, art critic, art educator, curator, or other art professional; institutional affiliation is not required. Art Journal published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
Working with the journal’s Editorial Board, the reviews editor is responsible for commissioning all book and exhibition reviews in Art Journal (approximately three per issue). The Reviews Editor selects books and exhibitions for review, commissions reviewers, and determines the appropriate length and character of reviews. The Reviews Editor also works with authors and CAA’s staff editors in the development and preparation of review manuscripts for publication. The person in this position is expected to keep abreast of newly published and important books and recent exhibitions in twentieth-century and contemporary art, criticism, theory, and visual culture. The three-year term includes membership on the Art Journal Editorial Board and an annual honorarium, paid quarterly.
The Reviews Editor attends virtual Art Journal/Art Journal Open Editorial Board meetings via Microsoft Teams in the spring and fall plus one onsite at the CAA Annual Conference in February each year, and submits an annual report to the CAA VP for Publications.
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 journal during the term of service. 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 as a single PDF document to Eugenia Bell, CAA Editorial Director.
Deadline: April 18
Register for CAA Summer Publishing Webinars!
posted by CAA — June 10, 2024
This summer, CAA will hold webinars in response to an influx of requests for guidance on and advice about academic publishing. Organized and moderated by Christy Anderson, Editor-in-Chief of The Art Bulletin and professor of the History of Architecture at University of Toronto, a panel of publishing experts will discuss and answer audience questions on the topics of turning longer research into an article and responding to readers reports and revisions. Our aim is to help demystify the academic publishing process, expand access to publishing education and professional development, and ultimately increase diversity in publishing.
July 31, 2–4 p.m. ET
In Print: From the Archive to the Essay
Getting Your Research Into Print
Shaping a large amount of research into a powerful essay can be more difficult than writing a book. A successful article needs a strong argument, clear organization, and effective use of images. In this workshop we will discuss some guidelines on developing an essay for The Art Bulletin or other journals. Join Christy Anderson, the Editor-in-Chief of The Art Bulletin and other scholars for a roundtable discussion with time for your questions.
August 7, 2–4 p.m. ET
Contending with Critique: How to Effectively Respond to Readers’ Reports
Each essay in The Art Bulletin has been through multiple revisions in response to comments from readers and the editor. If you are asked to ‘revise and resubmit’ how do you respond to readers’ reports? This workshop will demystify the peer review process and help you to incorporate the best of the advice into your writing.
Publishing webinars are free for CAA members and students.
Non-member registration is $15 per webinar or $20 to register for both.
Not currently a member of CAA? Join for $8 per month to attend both summer publishing webinars for free and receive discounted CAA Annual Conference registration!
Publishing webinars sponsored in part by:
Art Journal / AJO Editorial Board seeks new members!
posted by CAA — January 08, 2024
CAA invites nominations and self-nominations for three individuals to serve on the Art Journal / AJO Editorial Board for a four-year term: July 1, 2024–June 30, 2028. 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 identifying 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 remotely. 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 email a letter of interest and a CV as a single PDF to Eugenia Bell, Editorial Director, ebell@collegeart.org.
Deadline: February 5, 2024
Jonathan Fineberg and Art Since 1940
posted by CAA — June 22, 2022
A prolific art historian and critic in the fields of 20th and 21st century art and the psychology of art, Jonathan Fineberg has shaped generations of students with his many publications and textbooks. As a long-time member of CAA, Fineberg describes his experience with the organization:
“Seymour Slive, one of my favorite art history professors in college told me I should join the College Art Association if I wanted to be an art historian. CAA was (is), he pointed out, my professional association! I signed up right away (in 1966) and have remained an active member ever since. I’ve served on the board, I started the “artist interviews” many years ago, I’ve chaired and participated in many sessions and committees over more than fifty years, and until COVID hit I think I only missed one annual conference – my personal protest against the racism and anti LGBTQ+ stance of the state of Louisiana (that was the year we went to New Orleans). I love CAA for the many things it does for artists and art historians.
In order to give back this year I decided that I have made my fair share of royalties on my survey book Art Since 1940: Strategies of Being, so I took back the rights from the publisher and have given a high-resolution copy of the last edition to CAA for free download by any students and teachers who want it. You will find it here. I hope it inspires students to love contemporary art as I do and to bring them to join their fellow travelers in the CAA.”
CAA is immensely grateful for Fineberg’s generous donation to CAA, a digital version of his seminal work, Art Since 1940: Strategies of Being, 3rd Edition. Fineberg is offering this publication at no-cost access to both members and non-members for three years. A valuable pedagogical resource at many universities, this text is out of print, which presents a problem for many art history professors and students who cannot obtain copies. We are grateful for Fineberg’s donation, and for his fifty-plus-year membership in CAA.
Pride Month and Art Journal Open
posted by CAA — June 08, 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 articles on these topics from our open-access journal Art Journal Open.
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Downey, Kerry. “Creating Good-Enough Containers: Reflections on Queerness in Community-Based Museum Education.” Art Journal Open (January 9, 2019).
Kerry Downey, They said to the ocean, 2016, monotype with chine-collé, 19 x 13.5 in. Printed with Marina Ancona / 10 Grand Press. |
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Doyle, Jennifer and David Getsy. “Queer Formalisms: Jennifer Doyle and David Getsy in Conversation.” Art Journal Open (March 31, 2014).
Math Bass, Body No Body Body, 2012, latex paint on canvas and wood, installation view, Overduin and Kite, Los Angeles, 2012 (artwork © Math Bass; photograph provided by Overduin and Kite) |
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Getsy, David J. and Che Gossett, “A Syllabus on Transgender and Nonbinary Methods for Art and Art History.” Art Journal Open (February 4, 2022). Crossover article from Art Journal, 80, no. 4 (Winter 2021).
Del LaGrace Volcano, Moj of the Antarctic: On the Mountain, Antarctica, 2005, giclée print, 30 x 36 in. (76.2 x 91.4 cm) (artwork © Del LaGrace Volcano) |
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Latimer, Tirza True. “Introduction: Conversations on Queer Affect and Queer Archives.” Art Journal Open (October 24th, 2013). Crossover article from Art Journal 72, no. 2 (Summer 2013).
Veronica Friedman, Pages from monthly planners, 1980 and 1981. Veronica Friedman Papers, Gay, Lesbian, Bisexual, Transgender Historical Society, San Francisco (photograph © Barbara McBane) |
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Queer Caucus for Art. “Update from the Queer Caucus for Art.” Art Journal Open (January 26, 2016). |
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Rosa, Maria Laura. “Questions of Identity: Photographic Series by Alicia D’Amico, 1983–86.” Art Journal Open (July 2, 2019). Crossover article from Art Journal 78, no. 1 (Spring 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) |
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Shvarts, Aliza. “Toward a Reparative Pedagogy: Art as Trigger, Art as Repair.” Art Journal Open (April 7, 2022).
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Whitener, Brian. “Transiting in Anti-Patriarchal Worlds: The Queer Photography of Fernando Fuentes.” Art Journal Open (November 18, 2021).
Fernando Fuentes, “Emma” (with Homero Emma Jimenez), 2020 (photograph by Constanza Moctezuma) |
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. |