CAA News Today

The results of the 2022 CAA Board of Directors Election were presented at the CAA Annual Business Meeting, Part II on Friday, February 18 at 2:00 p.m. (CST) at CAA’s 110th Annual Conference.

We are grateful to all the candidates who put forward their names for consideration this year.

ABOUT THE BOARD OF DIRECTORS

The Board of Directors is charged with CAA’s long-term financial stability and strategic direction; it is also the Association’s governing body. The board sets policy regarding all aspects of CAA’s activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures.

Thank you to all those who voted!

We would like to congratulate Gregory Gilbert, Nazar Kozak, Karen J. Leader, Adity Saxena, and Victoria McCraven on their election to CAA’s Board of Directors.

Gregory Gilbert

Gregory Gilbert received his BFA degree in Art History from the University of Kansas and his MA and PhD degrees in Art History from Rutgers University. He has taught at Rutgers University, Purdue University and Western Illinois University. He is currently Professor of Art History and Director of the Art History and Art Museum Studies programs at Knox College in Galesburg, Illinois. He also earned MA certification in Museum Studies from Rutgers University and has worked in several art museums, most recently as senior curator at the Figge Art Museum in Davenport, Iowa. His primary area of research is 20th century American art, specifically Abstract Expressionism. He is currently researching the relationship of Robert Motherwell’s art to Pragmatist philosophy and American poetics and in 2015 received a Dedalus Foundation Visiting Scholar at the Archives of American Art Fellowship for this project. He is also writing a book on Abstract Expressionism and the mass visual culture of World War II and has published articles in the Oxford Art Journal and Arts on this topic. In addition, he has written critical exhibition and book reviews for The Art Newspaper. 

Nazar Kozak

Nazar Kozak is Senior Researcher at the Department of Art Studies at the Ethnology Institute of the National Academy of Sciences, Ukraine and Associate Professor of Art History at Ivan Franko University of Lviv. Kozak received a PhD from Lviv Academy of Arts in 2000. His research was supported by scholarships and grants from the Fulbright Scholar Program, Getty Scholar Program, the American Council of Learned Societies, and other organizations. Kozak is working in two subfields of art history simultaneously: medieval and contemporary. His research on the medieval period concerns political iconography and art exchanges in Byzantine and post-Byzantine cultural spheres. He has authored the book (Lviv: Liha-Pres, 2007). In contemporary art studies, Kozak is exploring art’s agency in crisis situations. His essay on the art interventions during the Maidan Revolution in Ukraine (2013–14) received an honorable mention as a finalist for 2018 Art Journal Award. Currently, Kozak is writing a book about global artistic responses to the 1986 Chernobyl nuclear disaster.

Karen J. Leader

Karen J. Leader is Associate Professor of Art History and Faculty Associate in the Center for Women, Gender and Sexuality Studies at Florida Atlantic University. She received her BA from the University of California, Berkeley and her MA and Ph.D. at the Institute of Fine Arts, New York University. Her areas of interest include art and popular culture in the 19th-21st centuries, feminist theory and practice, and the history and future of the discipline of art history, the humanities, and higher education. She has published on the artist Gustave Courbet, representations of women in popular culture, and 21st-century tattoo culture. She directs the Barb Schmidt Fellowship: Cultivating Community Involvement, Advocacy and Social Change, and is currently the chair of CAA’s Services to Historians of the Visual Arts Committee.  

Victoria McCraven

Victoria McCraven is the Programs Manager at NXTHVN, where she recently co-curated the Fall Exhibition Christian Curiel: Between Reveries. Based in New Haven, Connecticut, NXTHVN is an arts non-profit which invites emerging artists from all over the world to participate in its curatorial and studio fellowships. She is passionate about expanding historical narratives through the visual arts and creating community-based dialogue. Victoria earned her bachelor’s degree from Dartmouth College, majoring in Geography with a minor in Art History. While at Dartmouth, she worked at the Hood Museum of Art where she curated the exhibition Black Bodies on the Cross which included works by Romare Bearden, Kara Walker, and Ashley Bryan. In 2019, Victoria was selected as a U.S.-U.K. Fulbright Postgraduate Grantee to complete her master’s degree in History of Art at the School of Oriental and African Studies, University of London. Previously, Victoria was the 2020-2021 Romare Bearden Graduate Museum Fellow at the Saint Louis Art Museum, where she worked on education and audience development projects across the museum. While completing her fellowship at the Saint Louis Art Museum, she co-curated the current New Media Series Nuotama Frances Bodomo: Afronauts which is currently on view through May 1, 2022.

Adity Saxena

I call myself a messenger of happiness and believe in empathy. Mind-map is my tool for plotting ideas and communicating through stories. In the past 18 years of my professional journey, I have progressed from a design educator of a vocational training institution to a Dean of the Woxsen School of Arts and Design, India. In addition, I have expanded my path from teaching to academic coordination to academic leadership.    

Being a first-generation graduate, I have many pauses, slow and fast pace in my journey path, which gives me an understanding of people, culture, and power of empathy. I am a teenage girl’s mother, a certified design thinker, and a mentor.   

My experience includes allied fields like working as a Restorative Justice co-facilitator in a school project in the United States and many global research projects. I am India representative of Restorative Justice Education, USA, a nonprofit, 501(c)(3) corporation) is to promotes the practice of Restorative in school education to create a culture of care.  

The social role of art, wellbeing and education are the areas that interest me more. My research has been published globally and many of my research are the outcome of global collaborations. I have been invited to share my thoughts about the challenges in online education, corporate storytelling, and design thinking on many international platforms.  

I have been featured in The Academic Woman Magazine, the UK, in Jan-March, 2022 issue. In addition, recently, I have been invited to work as an external member in Design Thinking for Social Change, a project funded by the European Union. 

I am privileged to be connected with a global network and believe in the power of collaborations. My dream is to create an enjoyable learning space for students and teachers.  

CAA signs on to Statement Against Discrimination of Africans Fleeing Ukraine

posted by CAA — Mar 07, 2022

CAA has signed on to the African Studies Association’s statement against Discriminatory Treatment meted out to
Africans, including Scholars and Students, fleeing the war in Ukraine. The Association has received reports that Africans in Ukraine have been turned away from borders and prevented from traveling. They join the African Union and several African leaders in calling for the equal treatment of refugees. To read the statement in full, please visit their page.

Filed under: Advocacy —

Women’s History Month and caa.reviews

posted by CAA — Mar 04, 2022

Each week this Women’s History Month, we highlight the rich scholarship and programs produced at CAA that celebrate women in the fields of visual arts and the humanities. This week, we are sharing a bibliography of publications and exhibitions reviewed this past year on our open-access journal caa.reviews that feature women artists and practitioners.

caa.reviews also houses rosters of dissertation titles in progress and completed since 2002, many of which have been written by women and focus on topics related to women and feminism in the arts.

This Women’s History Month is also especially significant this year, which is the 50th anniversary of feminism at CAA. To learn more about this history, visit this page. CAA is also collecting archival materials to better understand and document the history of its Committee of Women in the Arts, including the committee’s many collaborations with other affiliate committees and groups, such as the Women’s Caucus for Art, The Feminist Art Project, the Queer Caucus, and many more. Visit this page for more information.

	Acevedo-Yates, Carla, editor. Carolina Caycedo: From the Bottom of the River. Chicago and New York: Museum of Contemporary Art Chicago and DelMonico Books/D.A.P., 2020.  Carolina Caycedo: From the Bottom of the River, installation view, Museum of Contemporary Art Chicago, 2020–21 (photograph by Nathan Keay, © MCA Chicago)
	Blanchflower, Melissa, Natalia Grabowska, and Melissa Larner, editors. Faith Ringgold. Serpentine Gallery, London, United Kingdom. Cologne: Walther König, 2019.    Faith Ringgold, Slave Rape, 1972, installation view, Faith Ringgold, Serpentine Gallery, London, 2019 (artwork © 2019 Faith Ringgold; photograph provided by readsreads.info)
	Brandow-Faller, Megan. The Female Secession: Art and the Decorative at the Viennese Women’s Academy. University Park, PA: Penn State University Press, 2020.
	Fiell, Charlotte and Clementine Fiell. Women in Design: From Aino Aalto to Eva Ziesel. London: Laurence King Publishing, 2019.
	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)
	Huebner, Karla. Magnetic Woman: Toyen and the Surrealist Erotic. Pittsburgh, PA: University of Pittsburgh Press, 2020.
	Kim, Christine Y. and Rujeko Hockley. Julie Mehretu. New York: Whitney Museum of American Art in association with Prestel, 2019.   Julie Mehretu, Hineni (E. 3:4), 2018, ink and acrylic on canvas, 96 × 120 in. (243.8 x 304.8 cm). Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle, gift of George Economou, 2019 (artwork © Julie Mehretu; photograph by Tom Powel Imaging)
	Meijling, Jesper and Tigran Haas, editors. Essays on Jane Jacobs. Stockholm: Bokförlaget Stolpe, 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)
	Nakajima, Izumi. Anti-Action: Post-War Japanese Art and Women Artists (アンチ・アクション: 日本戦後絵画と女性画家). Tokyo: Brücke, 2019.
	Nelson, Andrea editor. The New Woman behind the Camera. Washington, DC: National Gallery of Art, 2020.
	Rose, Pauline. Working against the Grain: Women Sculptors in Britain c.1885–1950. Liverpool, UK: Liverpool University Press, 2020.
	VanDiver, Rebecca. Designing a New Tradition: Loïs Mailou Jones and the Aesthetics of Blackness. University Park, PA: Penn State University Press, 2020.
	Walker, Anna and Laura Mott, editors. Olga de Amaral: To Weave a Rock. Arnoldsche Art Publishers in association with the Museum of Fine Arts, Houston, 2020.   Olga de Amaral, Brumas, 2013, acrylic, gesso, and cotton on wood, installation view, Olga de Amaral: To Weave a Rock, Cranbrook Art Museum, October 30, 2021–March 20, 2022 (artwork © Olga de Amaral; photograph by P. D. Rearick, image provided by Cranbrook Art Museum)

Filed under: Advocacy, caa.reviews, Publications — Tags: CAAfeminism50 —

CAA’s Anti-Colonialism Solidarity Statement

posted by CAA — Mar 02, 2022

On February 24, 2022, we witnessed the onset of military action and invasion of Ukraine. The College Art Association (CAA) strongly condemns colonialist aggression and oppression. We stand with our global colleagues, constituents, and friends who are affected by violence and threats to their safety as they struggle for peace and human rights. We recognize and hold firmly the inherent foundations for freedom, justice, and peace in the world. With peace as a central goal, we strongly condemn the deliberate destruction of heritage sites, destruction of art, and attempted hegemonic erasure of culture and history through the actions of oppressors. We encourage our international community of artists, historians, and designers to respond with care, with the aim to de-escalate the violence; and to use actions and words that will reaffirm peace, universal respect, and observance of the spirit of shared humanity. We invite members of our international community and learned societies to support colleagues, to protect scholarship and, with us, to condemn the atrocities to cultural heritage. Destruction of art and history in any one region is an action of erasure of all shared human histories.

CAA holds deep concern for the safety of working people, academic personnel, students, and the culture of the Ukraine, as well as the Global South, Middle East, and Far East and all our international constituencies affected by violence and uncertainty. We additionally support all BIPOC students and peoples and their equal treatment. CAA, its board, and its staff will continue to be in contact with affected members and offer support and advocacy. We stand in solidarity with our international arts community to create, analyze, teach, and promote art as an essential part of our institutions and our lives. We hold your safety, peace, and wellbeing at the forefront of our hearts.

CAA is a signatory of the American Historical Association’s letter condemning the Russian invasion of Ukraine. They write, “We vigorously support the Ukrainian nation and its people in their resistance to Russian military aggression and the twisted mythology that President Putin has invented to justify his violation of international norms.” To read this statement in full, please visit their website.

To read more about CAA’s advocacy, visit this page.

 

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Resources for Displaced Scholars and Students

 

United States

New University in Exile Consortium 

• The New University in Exile is an expanding group of universities and colleges publicly committed to the belief that the academic community has both the responsibility and capacity to assist persecuted and endangered scholars everywhere and to protect the intellectual capital that is jeopardized when universities and scholars are under assault.
• The primary mission of the Consortium is to nurture academics who have been persecuted and uprooted by creating a sense of intellectual community among exiled scholars.
• If you are affiliated with a college or university and would like your institution to take the next step toward becoming a member of the Consortium, email them at uieconsortium@newschool.edu. There are a few simple criteria for membership, primarily a commitment by your institution to host an endangered scholar. There are no membership dues.

Scholar Rescue Fund

• The Scholar Rescue Fund launched a Ukraine-specific round of the IIE Emergency Student Fund on Monday, February 28, to provide financial support to Ukrainian students studying at US colleges and universities.

The Paul & Daisy Soros Fellowships

• The Paul & Daisy Soros Fellowships for New Americans is a scholarship program offered to immigrants and refugees in the United States. In order to qualify for the scholarship program, applicants must be planning to attend a graduate-level degree program at an accredited American university on a full-time basis. The scholarships can be awarded to US citizens whose parents were born abroad or who are not US citizens as well as to individuals who were born abroad but are naturalized citizens, adopted by US citizens, green card holders or refugee status. Those who were born abroad but graduated from an American high school may also be eligible.

The Association for Slavic, East European, & Eurasian Studies (ASEEES)

• Resources to help displaced scholars from Ukraine.

 

Global

Scholars at Risk

• Scholars at Risk works to protect threatened scholars and promote academic freedom around the world.
• Go to this page to identify ways to help.

The UN Refugee Agency Scholarships

• A campaign to fund talented refugee scholars.

 

Germany

DAAD

For colleagues linked to German Universities, the website of DAAD, the German Academic Exchange Service, provides further information concerning Ukraine. The International Office at your university may be eligible for funding to support scholars from Ukraine by linking them to your university.

Albert Einstein German Academic Refugee Initiative (DAFI)

• Services and opportunities
• Scholarships
• The UNHCR of the United Nations administers the Albert Einstein German Academic Refugee Initiative (DAFI) to help refugees afford the cost of post-secondary education. Through the program, recognized refugees can receive free tuition as well as money for books, transportation, housing, and food. The program is open to applicants who hold a secondary school diploma, have demonstrated financial need, enroll in a program where the likelihood of employment is high, and are under 28 years of age. Only one DAFI award is given out per family. Applicants must be from one of the countries specified by the UNHCR. A full list is available on their website.

 

Austria

Central European University, Vienna

• Visit this link for ways to donate to Ukranian communities, such as housing and hardship support, as well as a new scholarship fund.

 

UK

University of Bristol Scholarship

• A scholarship that gives refugees and asylum seekers life-changing access to university education has been expanded, the University of Bristol has announced.

Student Action for Refugees (STAR)

• STAR campaigns for and supports the creation of scholarships to improve access to university for people who have claimed asylum in the UK. At this link, you can find a list of scholarship opportunities in the UK, together with advice for your application and information about other funding opportunities.

Council of At-Risk Academics (CARA) at Risk UK Universities Network 

• The Network aims to facilitate cooperation and collaboration between UK higher education institutions in support of persecuted and at-risk academics, and in the defence and promotion of academic and university freedoms worldwide. 125 UK universities are currently working with us to support these aims.

 

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Other Resources

CAA Committees

CAA Affiliated societies:

• • Society of Historians of East European, Eurasian, and Russian Art and Architecture, inc. (SHERA)
  • European Postwar and Contemporary Art Forum (EPCAF)
  • Diasporic Asian Art Network (DAAN)
  • Association of Academic Museums and Galleries (AAMG)

United Nations Security Council Resolution 2347 (2017)

UNESCO Convention Concerning the Protection of the World Cultural and Natural Heritage

1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict  

Nazar Kozak, “Art Embedded into Protest: Staging the Ukrainian Maidan,” Art Journal 76, no.1 (Spring 2017).

 

Filed under: Advocacy —

Call for Student Videographer

posted by CAA — Feb 23, 2022

CAA is seeking student videographer(s) interested in creating short video profiles on select recipients of our 2022 Distinguished Awards, to be completed this spring. Videos will be limited to three minutes in duration and will tell the story of the award recipient. For this pilot project, two awardees have been selected:

• Fred Hagstrom – Distinguished Teaching of Art Award, and
• Zahira Véliz- CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation

The selected video profiles will be featured on  CAA’s YouTube Channel and on the CAA website. The selected student will receive a complementary one-year membership to CAA and access to CAA’s 2023 Annual Conference.

 

Timeline

March 22, 2022 – Application for videographer deadline

April 5, 2022- Notification of selected videographer(s)

June 8, 2022- Completed videos due

 

Application instructions:

Please fill out this form and send a resume as a PDF to info@collegeart.org with “Distinguished Awards Videographer” in the subject line.

 

Filed under: Awards —

Affiliated Society News: February

posted by CAA — Feb 15, 2022

Many of CAA’s affiliated societies will be presenting virtual sessions at our 110th Annual Conference from February 17-19 and from March 3-5. Check out a list of their sessions to preview!

To attend these sessions and more, make sure to register for the conference and learn more at its registration page.

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AHNCA (Association of Historians of Nineteenth-Century Art)

Events

AHNCA’s Emerging Scholars Working Group Presents: See/Sip/Share: AHAA Crossover 

Wednesday, February 23 at 6 p.m. EST

The Emerging Scholars Working Group of the Association of Historians of Nineteenth-Century Art will join with the Association of Historians of American Art (AHAA) to host a See/Sip/Share, a bring-your-own beverage casual discussion of two images. Register here.

Filed under: Affiliated Societies, Event —

Black History Month and Art Journal Open

posted by CAA — Feb 10, 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 articles from our online, open-access journal Art Journal Open that addresses these topics.

 

Aranke, Sampada. “Objects Made Black.” Art Journal Open (February 9, 2015). Crossover article from Art Journal 73, no. 3 (Fall 2014) reviewing Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, Chicago: University of Chicago Press, 2013.

Baralaye, Ebitenyefa and Glenn Adamson. “The Weight of Matter: Ebitenyefa Baralaye and Glenn Adamson in Conversation.” Art Journal Open (May 20, 2021). Ebitenyefa Baralaye, Portrait I (multiple views), 2020, salt-glazed stoneware, 25 x 12 x 10 in. (63.5 x 30.5 x 25.4 cm) (artwork © Ebitenyefa Baralaye; photographs provided by the artist)

Barber, Tiffany E. “Narcissister, a Truly Kinky Artist.” Art Journal Open (March 11, 2020). Narcissister, Red Riding Hood, 2014, mixed media (photograph provided by the artist).

Best, Makeda. “Interview with Texas Isaiah.” Art Journal Open (April 8, 2021). Crossover article from Art Journal 80, no. 1 (Spring 2021). Texas Isaiah, don’t kill this vibe, 2018 (artwork © Texas Isaiah; photograph provided by the artist)

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)

Cunningham, Nijah. “With Each Other.” Art Journal Open (October 14, 2021). Crossover article from Art Journal 80, no. 3 (Fall 2021) reviewing Nicole R. Fleetwood. Marking Time: Art in the Age of Mass Incarceration. Cambridge, MA: Harvard University Press, 2020.

Dally, Jenny and Fred Eversley. “The Object and You: Fred Eversley in Conversation with Jenny Dally.” Art Journal Open (February 25, 2021). Fred Eversley in his Venice Beach studio, 2018 (photograph by Elon Schoenholz; photograph provided by David Kordansky Gallery, Los Angeles)

Gaines, Malik. “City after Fifty Years’ Living: LA’s Differences in Relation.” Art Journal Open (July 17, 2012). Ice Cube Celebrates the Eames, poster, 2011 (artwork © J. Paul Getty Trust)

Gale, Nikita and Jesús Fuenmayor. “Barricades of Silence: Nikita Gale in Conversation with Jesús Fuenmayor.” Art Journal Open (August 20, 2020). Nikita Gale, INTERCEPTOR, 2019, installation view, Fall Apart: Nikita Gale & Pat O’Neill, Martos Gallery, New York, January 11–February 24, 2019 (artwork © Nikita Gale; photograph by Charles Benton/Martos Gallery, provided by the artist),

Gbadegesin, Olubukola A. “Damon Davis’s Negrophilia: Encounters with Black Death.” Art Journal Open (August 30, 2017). Damon Davis, Untitled (2), 2015, bookprint, ink, watercolor, adhesive, from the series Negrophilia (artwork © Damon Davis)

Majeed, Risham and Blake Bradford. “Just Being.” Art Journal Open (May 22, 2020). Albrecht Dürer, Portrait of a Black Man (untitled), 1508, black chalk on paper. Original shown here; the NMAAHC has a reproduction in the Middle Passage galleries.

Raiford, Leigh. “Burning All Illusion: Abstraction, Black Life, and the Unmaking of White Supremacy.” Art Journal Open (January 14, 2021). Samuel Levi Jones, Joshua, 2016, deconstructed Illinois law books on canvas, 61½ x 77 in. (156.2 x 195.6 cm) (artwork © Samuel Levi Jones; photograph provided by Galerie Lelong)

Sifuentes, Aram Han. “How Internalized White Supremacy Manifests for My BIPOC Students in Art School.” Art Journal Open (July 8, 2021). Cute Rage Press (Aram Han Sifuentes and Ishita Dharap), detail of Taking Receipts: A Log of Aggression for People of Color, 2017, color printed spiral-bound book, 8 x 5½ in. (20.3 x 14 cm) (artwork © Aram Han Sifuentes and Ishita Dharap; photograph by Aram Han Sifuentes)

Saggese, Jordana Moore, Cauleen Smith, Charles Gaines, Edgar Arceneaux, Howardena Pindell, Michael Ray Charles, and Glenn Ligon. “A Call to Artists.” Art Journal Open (October 26, 2021). Crossover article from Art Journal 80, no. 3 (Fall 2021).

Tani, Ellen Y. “Come Out to Show Them: Speech and Ambivalence in the Work of Steve Reich and Glenn LigonSpeech and Ambivalence in the Work of Steve Reich and Glenn Ligon.” Art Journal Open (December 23, 2019). Glenn Ligon, Come Out Study #13, 2014, silkscreen on canvas on panel, 36 x 47 7/8 in. (91.4 x 121.6 cm) (artwork © Glenn Ligon; photograph by Ronald Amstutz, provided by the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Chantal Crousel, Paris)

Thompson, Krista. ““I WAS HERE BUT I DISAPEAR”: Ivanhoe “Rhygin” Martin and Photographic Disappearance in Jamaica.” Art Journal Open (August 14, 2018). Production still from The Harder They Come, 1972, 16mm color film, dir. Perry Henzell, cinematography by Frank St. Juste, David McDonald, and Peter Jessop, produced by International Films / Xenon Pictures (photograph published under fair use)

Williams, Stephanie Sparling. “Artful Embodiment: Genealogies of the Impossible.” Art Journal Open (November 27, 2018). Crossover article from Art Journal 77, no. 3 (Fall 2018) reviewing Uri McMillan, Embodied Avatars: Genealogies of Black Feminist Art and Performance, New York: New York University Press, 2015.

Winslow, Margaret. “Pope.L: The Body and Its Void.” Art Journal Open (January 14, 2021). Crossover article from Art Journal 79, no. 4 (Winter 2020) reviewing member: Pope.L, 1978–2001., exhibition organized by Stuart Comer with Danielle A. Jackson. Museum of Modern Art, New York, October 21, 2019–February 1, 2020.

Zorach, Rebecca. “Art and Soul: An Experimental Friendship between Street and Museum .” Art Journal Open (September 4, 2011). Art & Soul exterior with Rainbow mural by Sachio Yamashita, 1969 (mural now destroyed) (mural artwork © Eileen Petersen Yamashita, all rights reserved, used with permission; photograph © Ann Zelle)

 

Filed under: Advocacy, Publications —

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