CAA News Today

CAA’s Committee on Women in the Arts (CWA) curates a seasonal list of must-see exhibitions. The CWA Summer 2023 picks highlight the rich contributions of women-identifying African, Latinx, and Indigenous artists, bringing their voices to the forefront. These artists explore the legacies of their respective mediums and their enduring significance in contemporary art. Unafraid to tackle pressing social issues, their works offer a powerful lens through which to examine themes of gender, sexuality, race, and ethnicity. By amplifying marginalized perspectives, these exhibitions provoke meaningful conversations and challenge existing narratives in the art world.

Tender Loving Care
July 22, 2023–July 28, 2025
Museum of Fine Art, Boston

This exhibition explores the theme of care through contemporary art. The act of creating and appreciating art is a form of care, and the exhibition highlights how artists address this concept through their materials, ideas, and processes. The exhibition showcases around 100 works from the museum’s collection, organized into five thematic groupings: threads, thresholds, rest, vibrant matter, and adoration. Examples of care in art can be seen in Gisela Charfauros McDaniel’s portrait of her mother, Nick Cave’s Sound Suit, and textiles and fiber art by Sheila Hicks, Howardena Pindell, and Jane Sauer. Through these works and others, visitors are invited to consider how care can inspire new models for living and feeling in the present and the future.

Creativity in the Time of COVID-19: Art as a Tool for Combatting Inequity and Injustice
August 25–September 30, 2023
Buffalo NY: Squeaky Wheel, Buffalo Arts Studio + Buffalo Game Space

In collaboration with the Andrew W. Mellon Foundation, Michigan State University, and SUNY Buffalo’s Amatryx Lab & Studio, this exhibition features a range of BIPOC, LGBTQ+, and Buffalo-based artists and creatives to center marginalized experiences of the pandemic and social justice concerns.

Black Venus
Through August 20, 2023
Museum of the African Diaspora, San Francisco

BLACK VENUS, curated by Aindrea Emelife is an exhibition that surveys the legacy of Black Women in visual culture – from fetishized, colonial-era caricatures to the present-day reclamation of the rich complexity of Black womanhood by 18 artists (of numerous nationalities and with birth years spanning 1942 to 1997). This exhibition is a celebration of Black beauty, an investigation into the many faces of Black femininity and the shaping of Black women in the public consciousness – then and now.
‍
In BLACK VENUS, archival depictions of Baartman and other historical Black women pair with the vibrant, narrative portraiture by some of today’s most influential Black image-makers whose work deals with layered narratives of Black femininity.

This exhibition reckons with difficult visual histories. It features some themes and images that are derogatory and many that are empowering. Sensitive visitors should be aware that several artists in the exhibition employ nudity and sexual imagery to explore their ideas.

Amalia Mesa-Bains: Archeology of Memory 
Through August 13, 2023
UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley

Amalia Mesa-Bains: Archaeology of Memory is the first retrospective exhibition of the work of longtime Bay Area artist Mesa-Bains. Presenting work from the entirety of her career for the first time, this exhibition, which features nearly 60 works in a range of media, including fourteen major installations, celebrates Mesa-Bains’s important contributions to the field of contemporary art locally and globally.

Shaped by the Loom: Weaving Worlds in the American Southwest
Through July 9, 2023
Bard Graduate Center, NYC

Shaped by the Loom: Weaving Worlds in the American Southwest invites you to explore the world of Navajo weaving. This dynamic gallery and online experience presents never-before-seen textiles created by Diné artists. These historic blankets, garments, and rugs from the American Museum of Natural History are situated alongside contemporary works by Diné weavers and visual artists, such as Barbara Teller Ornelas and Lynda Teller Pete. Shaped by the Loom highlights seasonal cycles that guide the harvesting of dye plants, the cosmologies that inform a weaver’s work, and the songs, stories, and prayers that are woven into every piece. The items in the exhibition will be accompanied by artist interviews, interactive storytelling, and stunning panoramic views of the Navajo Nation. Shaped by the Loom elevates the voices of Indigenous artists and makers to express the cultural legacy and continued vibrancy of weaving traditions in the American Southwest.

The Figure, Reclaimed
A Renaissance of the female body in visual culture
July 5–August 4, 2023
Carolla Arts Exhibition Center, Missouri State University

Throughout the history of visual culture, figurative painting has been regarded as one of the highest forms of Western art. Dazzling displays of hyper-realistic anatomical mastery and expansive narrative scenes depicting multiple figures through complex perspectives dominated as the pinnacle of art-making for centuries. While the artists of these historic images were all white male painters, it was the female body that was often leveraged for these narratives. Further, female artists were also excluded from painting these historic scenes and denied access to nude models to even attempt to study the art of figural painting.

The Figure, Reclaimed, seeks to celebrate and explore the Renaissance of the female body and the female figurative painter in visual culture. Through the work of Aneka Ingold and Livia Xandersmith, this exhibition explores how female figurative painters have combined the traditional art of figurative painting with contemporary, stylized approaches to redefine and expand upon what it means to be a figurative painter, ruminate on the female experience, and how representations of the female body are consumed.
 
As women face losing bodily autonomy in today’s contemporary society, what does it mean to be a female figurative painter in today’s context? What stories must be told on the scale of figurative painting about what it means to identify as a woman today? Why is the female body a contested landscape, and why does this form hold a sense of home base for visual culture? Is it the embodied connection to humanity and life?

Madeleine Hunt-Ehrlich: Too Bright to See
Perez Art Museum, Miami
Through January 7, 2024

Madeleine Hunt-Ehrlich (b. 1987) is a filmmaker and artist whose work blends narrative and documentary traditions to explore stories and experiences of Black women in the Americas.

Hunt-Ehrlich’s experimental narrative artwork Too Bright to See (Part I) draws on her extensive research on the legacy of Suzanne Roussi-Césaire, a writer and anticolonial and feminist activist from Martinique who, along with her husband, Aimé Césaire, was at the forefront of the Négritude movement during the first half of the 20th century. Roussi-Césaire would also become an important Surrealist thinker, influencing the likes of painter Wifredo Lam and writer André Breton. However, despite her critical contributions to Caribbean thought and Surrealist discourse, until recently much of her work was overlooked.

Too Bright to See (Part I) weaves archival materials with cinematic narrative scenes filmed with an unconventional and modern cast. Drawing inspiration from Caribbean aesthetics and Surrealist artwork, this film installation brings attention to new aspects of Roussi-Césaire’s legacy that are undocumented in the public arena, while addressing the broader question of the continued erasure of women from historical accounts.

Carrie Mae Weems: Reflections for Now
Barbican Art Gallery, London
June 21–September 3, 2023

Opening 22 June 2023, Barbican Art Gallery is proud to present the first major solo exhibition of Carrie Mae Weems in a UK institution. Widely considered to be one of the most influential American artists working today, Weems (b.1953) is celebrated for her exploration of cultural identity, power structures, desire, and social justice through a body of work that develops questioning narratives around race, gender, history, class and their systems of representation.

Highlighting her remarkably diverse and radical practice, this survey brings together an outstanding selection of photographic series, films, and installations spanning over three decades, many of which have never been seen before in the UK. Presenting the development of her unique poetic gaze and formal language from the early 1990s to the present day, this exhibition reflects on Weems’s pioneering career. On display are works from her early iconic Kitchen Table Series (1990) which explores how power dynamics are articulated in the domestic sphere and the potential of the home as a space for resistance, to her acclaimed series Roaming (2006) and Museums (2016) where Weems’s muse confronts architecture as the materialisation of political and cultural power. Her oeuvre challenges dominant ideologies and historical narratives created by and disseminated within science, architecture, photography, and mass media.

The exhibition is accompanied by Carrie Mae Weems: Reflections for Now, the first publication devoted to the artist’s writings. It will highlight Weems’s influence as an intellectual, reflecting the dual nature of her career as an artist and activist. A public programme of events, including a programme of films in Barbican cinema, will also run throughout the course of the exhibition.

Gio Swaby: Fresh Up
Through July 3, 2023
Art Institute of Chicago

Gio Swaby is a multidisciplinary artist whose textile-based practice explores the intersections of Blackness and womanhood. Her embroidered portraits are anchored in the connections she forges with her subjects: each portrait begins with a photo shoot in which her sitters are captured in a moment of self-awareness and empowerment. In her textile interpretations, Swaby foregrounds their hair, clothing, and jewelry—highlighting and celebrating the subjects’ use of fashion as unapologetic self-definition and self-expression.

This exhibition—Swaby’s first solo museum show—brings together seven of Swaby’s series from 2017 through 2021, such as My Hands Are Clean, Love Letters, and Pretty Pretty, along with approximately 15 new works, including her largest work to date, a commission for the US Embassy in Nassau, Bahamas. The title of the show, Fresh Up, developed with the artist, is a Bahamian phrase often used as a way to compliment someone’s style or confident way of being. Swaby has remarked, “It holds a lot of positivity and joy. It also speaks to the tone of confidence and power that I want to create with these works. I love that it is a way to form connections through a simple phrase.”

Lynn Hershman Leeson: Phantom Limb
Through July 8, 2023
Altman Seigel, San Francisco

Altman Siegel proudly presents a historical exhibition of works from Lynn Hershman Leeson’s Phantom Limb series, which was created in the 1980s. At the time that it was created, the Phantom Limb collages illustrated the more insidious impacts of mass media and technology on women’s bodies. Created prior to the advent of Photoshop, this body of work borrows from the visual language of advertising, fusing female forms with technology. Seductively posed women merge with cameras, TV screens, and electrical plugs, pointing to ways in which gendered mass media representations shape and distort women’s self-image. At once alluring and disarming, these black-and-white photo collages grapple with the absorption of female identity into modern media at a time when the depths of this issue were just beginning to be explored.

In this series Hershman Leeson was already musing on the implications of surveillance when she describes cameras as a “capture system”:

“This photographic series…suggests that we are not only being watched by surveillance systems, but that ‘capture’ systems are endemic to our society. The series questions individual complicity in a system that simultaneously steals images and warps personal identity. The seductive alliance of surveillance and capture inspired the sexually provocative positions in the anthropomorphic images.” – Lynn Hershman Leeson

My Hands Are Clean 4, 2017  Gio Swaby. Courtesy of Claire Oliver and Ian Rubinstein. © Gio Swaby

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  

Filed under: caa.reviews —

Nominations Open for CAA Juries

posted by CAA — May 11, 2023

CAA invites nominations and self-nominations for individuals to serve on our Awards for Distinction, Publication Grant, Fellowship, and Travel and Support Grant juries. Terms begin July 2023. 

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, 2023. CAA’s president and vice president for committees appoint jury members for service. Materials are due to CAA by June 1, 2023.

Amanda Williams speaks at Convocation at CAA’s 108th Annual Conference in Chicago

AWARDS FOR DISTINCTION JURIES

CAA has vacancies in the following juries for the annual Awards for Distinction for three years (2023–2026). Terms begin in July 2023.

• Art Journal Award (1 vacancy)
• The Alfred H. Barr Jr. Award/Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions for museum scholarship (2 vacancies)
• Charles Rufus Morey Book Award for non-catalogue books in the history of art (1 vacancy)
• Frank Jewett Mather Award for art criticism (2 vacancies)
• Arthur Kingsley Porter Prize for Art Bulletin articles (1 vacancy)
• The CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation (1 vacancy)
• Jury for the Artist Award for Distinguished Body of Work, Distinguished Artist Award for Lifetime Achievement, and Distinguished Teaching of Art Award (1 vacancy)
• Excellence in Diversity Award (3 vacancies)
• Distinguished Feminist Awards for Scholars and Artists (1 vacancy)

FELLOWSHIP AND SCHOLARSHIP JURIES

CAA has vacancies on our Professional Development Fellowship juries for three years (2023–2026). Terms begin in July 2023.

• Professional Development Fellowships for Art History (2 vacancies)
• Professional Development Fellowships for Visual Art, CAA-GOLDEN Scholarship Program, and Michael Aurbach Fellowship for Excellence in Visual Art (3 vacancies)

 

TRAVEL/SUPPORT GRANT JURIES

CAA has vacancies on our jury for three years (2023–2026). Terms begin in July 2023.

• Art History Fund for Travel to Special Exhibitions (3 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. Nominations must be sent as a Microsoft Word or Adobe PDF attachment.

For questions about jury service and responsibilities, contact cbuckley@collegeart.org.

Deadline: June 1, 2023

Filed under: Awards —

Art Journal Seeks Editor-in-Chief

posted by CAA — Mar 21, 2023

**THESE POSITIONS HAVE BEEN FILLED. NOMINATIONS ARE CLOSED**

The Art Journal/AJO Editorial Board invites nominations and self-nominations for the position of editor-in-chief for the term July 1, 2023–June 30, 2027 (with service on the Art Journal/AJO Editorial Board in 2023–24 as editor designate, and in 2027–28 as past editor). Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.   

Working with the editorial board, the editor-in-chief (EIC) is responsible for the content and character of the journal. The EIC solicits content, reads all submitted manuscripts, sends submissions to peer reviewers, and provides guidance to authors concerning the form and content of submissions; develops projects; makes final decisions regarding content; and may support fundraising efforts on the journal’s behalf. A candidate may be an artist, art historian, art critic, art educator, curator, or other art professional. The EIC works closely with CAA’s New York staff, attends three meetings each year of the Art Journal/AJO Editorial Board—held in the spring and fall by teleconference or in New York, and in February at the CAA Annual Conference—and submits an annual report to CAA’s Board of Directors.  

The position usually requires twenty hours a week. CAA provides financial compensation for course releases, usually to the EIC’s employer. The EIC is responsible for expenses related to travel and lodging.  

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. 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. A CV, a letter of interest from the nominee, and at least one letter of recommendation must accompany each nomination. Please send nominations by email to Eugenia Bell, Editorial Director, ebell@collegeart.org, and include “Art Journal Editor-in-Chief Search” in the subject line.  

Deadline: April 30, 2023  

 

Filed under: Art Journal —

caa.reviews Seeks Field Editors in Eleven Areas

posted by CAA — Mar 21, 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. 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.   

• • • Indigenous Art
    • Architectural History, Urban Planning, Historic Preservation, Landscape Architecture  
    • South and Southeast Asian Art  
    • Islamic Art  
    • Cinema, Media, and Performance 
    • Nineteenth-Century Art 
    • Twentieth-Century Art 
    • Contemporary Art 
    • Early Modern European Art (South) 
    • Exhibitions: Midwest 
    • Exhibitions: Northeast

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 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 to ebell@collegeart.org.

Deadline: April 30, 2023 

Filed under: Uncategorized —

CAA Staff Spotlight: Mira Friedlaender

posted by CAA — Mar 10, 2023

On Guard, performance centering on the installation of long-stored objects from the Bilge Civelekoglu Friedlaender Estate, FiveMyles, Brooklyn, 2014.

Mira Friedlaender is CAA’s Senior Manager of Annual Conference and Programs. Since joining CAA in 2018, Mira has worked with a significant portion of members (new and returning!) and continues to do so each year to support their participation in conference sessions and events. She produces the event with CAA staff, committees, and partners, attending to myriad details while also working to refine and reshape the conference each year in support of CAA’s long-term strategic goals. Mira was previously an exhibition manager for nonprofits such as No Longer Empty and HappyLuckyNo1. She also worked in television production and co-owned a restaurant in Brooklyn, New York.

As an artist and independent scholar of art stewardship, Mira has exhibited locally and internationally, and her work has been featured in the New York Times and Bomb. She has held residencies at the American Center in Bangladesh and Recess in New York. She is the Director of the Bilge Friedlaender Estate, was a fellow in the Art & Law Program, and cocurated Bilge Friedlaender: Words, Numbers, Lines in Istanbul.

“Since her death, I’ve been stewarding the art my mother Bilge Friedlaender (née Civelekoglu) made, beginning more actively in 2014 with my project at Recess, which was still in Soho at that time. I’ve contributed to the scholarship on artist estates through this work and through knowledge sharing; as an artist and artist’s heir I am most interested in performing an emotional institutional critique of the challenges artist-stewards face, particularly those without infinite resources,” explains Mira.

Curated by Işın Önol, Bilge Friedlaender’s never-before-seen works from the 1970s are on view now at Sapar Contemporary in New York City through April 10. Bilge’s work occupies a unique place in the Turkish and Middle Eastern modernist tradition as well as in the history of twentieth-century American art, especially the soulful minimalism of 1970s—not unlike the work of Zarina Hashmi, Etel Adnan, and Huguette Caland. Bilgé’s minimalism is infused with Sufi mysticism, sacred numerology, and reverence for nature and the divine feminine. Her spiritual feminism evolved into an overt ecofeminism as she grew older.

“My mother left Turkey in 1958 to come to the US and be an artist, and she exhibited until her death. Since 2015 there has been a museum show of her work in Istanbul and there have been subsequent opportunities for Bilge’s work, but this is the first time her work has been shown in New York City since 1981. This is a big step for the estate. Next, we are looking to travel this incredible selection of the works on paper and artist books with the goal of expanding the scholarship around Bilge’s artworks and extensive writings.”

Join Mira and curator Işın Önol in conversation with guests on April 4, 6 p.m. ET, at Sapar Contemporary. 

Mira’s next project is an interview this spring of artist Jill Slosburg-Ackerman for Voices in Contemporary Art (VoCA,) stay tuned!

 

                             Bilge Friedlaender, Weightless Pink, 1975 

 

Bilgé: Lifespan of a Horizontal Line, Sapar Contemporary, 2023, and, right column, Half of What’s There, Recess Art, 2014

 

Bilge Friedlaender, Tides Time II, 1975

Filed under: Staff, Uncategorized —

CAA Signs ACLS Statement on Florida House Bill 999

posted by CAA — Mar 07, 2023

CAA has signed on to a statement issued by the American Council of Learned Societies (ACLS) regarding Florida HB 999. This bill would radically shift Florida’s approach to higher education in a manner that negatively impacts diversity and academic freedom; this is antithetical to CAA’s mission.  

CAA stands with ACLS, together with other academic societies, and shares their belief that, if passed, the bill “ends academic freedom in the state’s public colleges and universities, with dire consequences for their teaching, research, and financial well-being.” 

The full ACLS statement on Florida HB 999 can be viewed here. CAA encourages individual and institutional members to visit the ACLS website and sign on to the ACLS statement, as well as contact legislators, write op-eds, and proliferate information on social media to fight this bill.  

Other learned societies and higher education institutions who have signed the ACLS statement:  

American Academy of Religion
American Anthropological Association
American Association for Italian Studies
American Folklore Society
American Historical Association
American Musicological Society
American Philosophical Association
American Political Science Association
American Society for Environmental History
American Sociological Association
Association for Slavic, East European, and Eurasian Studies
Association for the Study of African American Life and History
Association of University Presses
College Art Association
German Studies Association
Latin American Studies Association
Linguistic Society of America
Medieval Academy of America
Modern Language Association
National Council of Teachers of English
National Council on Public History
National Women’s Studies Association
Organization of American Historians
Rhetoric Society of America
Sixteenth Century Society & Conference
Society for Ethnomusicology
Society for Music Theory
Society for the History of Technology
Society of Biblical Literature
World History Association 

CAA has also signed on to a Florida HB 999 statement issued by the American Historical Association (AHA) which can be viewed here. 

Other organizations who have signed the AHA statement: 

African American Intellectual History Society
American Anthropological Association
American Association for the History of Medicine
American Association of University Professors
American Folklore Society
American Philosophical Association
American Society for Environmental History 
American Sociological Association
Association for Slavic, East European, and Eurasian Studies
Association for the Study of African American Life and History
Association of Ancient Historians
Association of University Presses
Berkshire Conference of Women Historians
Black Heritage Trail of New Hampshire
Central European History Society
College Art Association
Committee on LGBT History
Conference on Latin American History
Executive Committee of the Czechoslovak Studies Association
French Colonial Historical Society
German Studies Association
H-France
Historians for Peace and Democracy
Immigration and Ethnic History Society
Kurt Vonnegut Museum and Library
Labor and Working Class History Association 
LGBTQ History Museum of Central Florida
Linguistic Society of America
Medieval Academy of America
National Association of Diversity Officers in Higher Education
National Council on Public History
National Council of Teachers of English
New England Historical Association
North American Conference on British Studies
North American Society for Oceanic History
Organization of American Historians
PEN America
Polish American Historical Association
Radical History Review
Roy Rosenzweig Center for History and New Media
Shakespeare Association of America
Social Welfare History Group
Society for Austrian and Habsburg History
Society for French Historical Studies
Society for Historians of the Gilded Age and Progressive Era
Society for Textual Scholarship
Society for the History of the Early American Republic 
Society for the History of Technology
Society for the History of the Early American Republic 
Society for U.S. Intellectual History
Southern Historical Association
Texas Institute of Letters
Tully Center for Free Speech at Syracuse University
Western Society for French History
Woodhull Freedom Foundation
World History Association 

Filed under: Advocacy —

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