Tag: ACRAH

ACRAH will be at CAA2025!

The ACRAH/CAA2025 panel will be Critical Race Art History Roundtable: Doing the Work

The session will be in-person at the New York Hilton Midtown – 2nd Floor – Nassau West on February 14, 2025 at 2:30pm EST.

The ACRAH Business Meeting will also be held in the same room February 14, 2025 at 1:00pm EST.

Session Abstract:

What does it mean to do critical race art history? This session brings together scholars in a conversation about how a critical race art history approach can manifest in our work. Having proposed this line of inquiry twenty-five years ago, we want to reflect on the nature of the concept and how the field has evolved. What are the goals of critical race art history, and what are its methodologies and theoretical grounds? What are the conceptual parameters of this lens on art history–what does it mean to center an understanding that race structures how we see and shapes our reception of art? What tools and methods do we employ to make the operations of race visible? How do we move from American identity politics –that emphasizes a white/non-white binary and focuses on the identification of negative racial tropes and artistic rebuttals to the harm of such imagery–to a comprehensive unpacking of the systemic racialization in art? What do we gain when we foreground how race informs the construction of the visual cultures that we inhabit? How do the insights of critical race art history become integrated into art history at large?

Participants:

Kymberly Pinder, Yale University

Pinder is Professor of Art and History of Art and the Stavros Niarchos Foundation Dean of the Yale School of Art. She is the editor of Race-ing Art History: Critical Reading in Race and Art History (Routledge, 2002).

Tatiana Flores, University of Virginia

Flores is the Edgar Shannon Jefferson Scholars Foundation Distinguished Professor in Art History at the University of Virginia. She is an editor of The Routledge Companion to Decolonizing Art History (2023).

Elizabeth Hutchinson, Barnard University

Hutchison is the Tow Associate Professor of Art History at Barnard College. She is the author of The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915 (Duke University Press, 2009).

Lily Cho, York University

Cho is Associate Professor of English at York University. She is the author of Mass Capture: Chinese Head Tax and the Making of Non-Citizens (McGill-Queens University Press, 2021).

LECTURE SERIES: To Mind and to Mend/Collective for Anti-Racist Art History (CARAH), University of Zurich

ACRAH’s co-directors Jacqueline Francis and Camara Holloway will be presenting as a part of this series. See below.

https://www.khist.uzh.ch/de/chairs/moderne/events/To-Mind-and-to-Mend–Antirassistische-Praktiken-in-der-Kunstgeschichte.html

REGISTER: https://www.khist.uzh.ch/de/institut/registration.html

Focusing on Europe, where anti-racist initiatives and practices are still little established within universities and cultural institutions, this lecture series discusses how art history can assume a more self-critical stance to actively counter racism in all its forms. In what ways can anti-racist and decolonial efforts be fostered through art historical research and teaching, as well as the contextualisation of artworks or collections? What are necessary interventions or existing best practices within the discipline of art history in order to critically engage with racist representations or historical attributions? To what extent can the use of appropriate language prevent the entrenchment of stereotypes and prejudices? And how can debates on inclusion and diversity be sustainably incorporated within academia, museums and art academies? These and other questions will be addressed in the course of the lecture series by art historians, curators, art critics and art educators.

Programme: 

03.10.: Is Art History Racist?

Anne Lafont (Professor in art history and créolités, École des hautes études en sciences sociales, Paris)

[English]

10.10.: Working Towards a Critical Race Art History

Association for Critical Race Art History (ACRAH) – Jacqueline Francis (Dean, Humanities & Sciences Division, California College of the Arts, San Francisco) & Camara Dia Holloway (Project Manager, Romare Bearden Digital Catalogue Raisonné, Wildenstein Plattner Institute, New York)

[English]

*Online

31.10.: «Gastarbeiter» aus der Türkei und die Immobilität der weissen Kunstgeschichte Westdeutschlands

Gürsoy Doğtaş (Kunsthistoriker und Kurator, Forschungsstipendiat 2024/25 für Curatorial Studies, Städelschule und Goethe Universität, Frankfurt a.M.)

[Deutsch]

07.11.: Cause and Effect: On the Audience of Andrea Fraser at Luma Westbau

Brit Barton (artist and art writer, Zürich/Chicago)

[English]

21.11.: Antirassistische Strategien in Museen und kulturellen Institutionen

Gespräch mit Tasnim Baghdadi (Co-Leiterin Migros Museum für Gegenwartskunst, Zürich), Eric Otieno Sumba (Autor und Forscher, Redakteur am Haus der Kulturen der Welt, Berlin), Marilyn Umurungi (Kunst- und Kulturforscherin, Co-Kuratorin Schweizerisches Nationalmuseum, Zürich)

[Deutsch]

*Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich

05.12.: Documenting Colonial Toxicity

Samia Henni (Assistant Professor of History and Theory of Architecture and Director of Graduate Studies, McGill University, Montreal)

[English]

*Online

12.12.: Invisible Man. Race und Fototheorie

Christopher Nixon (Philosoph und Komparatist, Hamburg)

[Deutsch]

***

Konzept und Organisation / Concept and organization

CARAH – Collective for Anti-Racist Art History

Daniel Berndt, Nadine Helm, Nadine Jirka, Charlotte Matter, Rosa Sancarlo

Weitere informationen / Further information

www.khist.uzh.ch/de/research/projects/carah.html

Die Vortragsreihe ist kostenlos und öffentlich zugänglich. Die einzelnen Vorträge werden auf Deutsch oder Englisch gehalten (siehe Programm). Einige Sitzungen finden virtuell statt. Alle Vorträge werden online mit Untertitelung übertragen. Für Fragen und Bedürfnisse zur Barrierefreiheit, sowie für die Anmeldung zur Online-Teilnahme schreiben Sie bitte an CARAH: antirassismus@khist.uzh.ch

The lecture series is free and open to the public. Individual sessions will be held in German or English (see program). Some sessions will take place online. All lectures will be streamed online with subtitles. For questions and accessibility needs, and to register for online participation, please write to CARAH: antirassismus@khist.uzh.ch

Mit der Unterstützung von / With the support of:

  • Kunsthistorisches Institut UZH
  • Lehrstuhl für Moderne und Zeitgenössische Kunst und Lehrstuhl Geschichte der bildenden Kunst
  • Graduate Campus UZH
  • Graduiertenschule der Philosophischen Fakultät UZH
  • Dr. Carlo Fleischmann Stiftung

ACRAH will be at CAA2024!

The ACRAH/CAA2024 session will be Critical Race Art History and the Archive.

The panel will be held on Zoom on Thursday, February 15th, at 2:30pm CST.

If you are attending the conference in person at the Hilton Chicago, you have the option to view the session in the Marquette Room on the 3rd floor.

Session Abstract

In Subject to Display (2009), Jennifer A. González asserts that “the collection and display of bodies, images, and artifacts in museums and elsewhere is a primary means by which a nation tells the story of its past and locates the cultures of its citizens in the present.“ In this session, contemporary archivists’ discuss their approaches to telling the narratives of racial identification and racialization—past and present. What has been collected and how has that material been interpreted? What questions do they bring to institutional systems of classification? How do they create space and cede power so that marginalized communities can access resources that support their created and managed archives? In what ways have the concerns of the humanities—analysis, interpretation, argumentation—been mainstreamed into digital humanities practice in the scope of critical race art history?

Check out our presenters here CAA2024

Recorded portions of the session will be available to conference registrants until April 17, 2024.

Register for CAA2024: https://www.collegeart.org/programs/conference/conference2024/registration

CFP: “Critical Race Art History and the Archive” @ ACRAH/CAA2024

ACRAH will be at College Art Association Annual Conference in 2024.

We are having a virtual session, “Critical Race Art History and the Archive” that is soliciting papers.

Abstract:

In Subject to Display (2009), Jennifer A. González asserts that “the collection and display of bodies, images, and artifacts in museums and elsewhere is a primary means by which a nation tells the story of its past and locates the cultures of its citizens in the present.“ In this session, contemporary archivists’ discuss their approaches to telling the narratives of racial identification and racialization—past and present. What has been collected and how has that material been interpreted? What questions do they bring to institutional systems of classification? How do they create space and cede power so that marginalized communities can access resources that support their created and managed archives? In what ways have the concerns of the humanities—analysis, interpretation, argumentation—been mainstreamed into digital humanities practice in the scope of critical race art history?

Submit your proposal here: https://caa.confex.com/caa/2024/webprogrampreliminary/Session12882.html

Deadline: August 31, 2023

Check out the full CAA conference call for participation and guidelines to submit here: https://caa.confex.com/caa/2024/webprogrampreliminary/meeting.html

ACRAH will be at CAA2023!

The ACRAH/CAA2023 session will be “Harlem-on-Thames: NY/LON, 1919-1939.” The panel will be held on Zoom, February 16, 2023 at 9:00am EST.

https://caa.confex.com/caa/2023/meetingapp.cgi/Session/10984

Harlem, in the interwar era, was a space of avant-gardism. Groundbreaking forms of visual art, music, fashion, and popular dance, produced by Black artists, were received as racialized forms of modernism. Among those who recognized Harlem’s novelty and power and traveled there to experience it were white British artists who positioned themselves as iconoclasts: for them, Harlem was a realized site of modernity, where there were few social restraints upon expression. Simultaneously, enterprising Blacks from the United States and colonized countries in the Caribbean and Africa traveled to London, pursuing greater freedoms and career opportunities. There, they were part of interracial collaborations in concert dance, film, and musical productions; they mingled in liberal, social circles and pursued relationships across class, sexual, and racial lines. The Black presence in London was visible and remarked upon, welcomed by some and rejected by others. Both progressive ideas and fetishistic notions shaped the early twentieth-century trope of Blackness. What David Levering Lewis rightly termed the vogue for Harlem neither dispelled nor disrupted longstanding patterns of white privilege and racism within these interlocking, interwar trans-Atlantic modernisms. In the years leading up to the impending World War, many of these romantic liaisons and professional partnerships dissolved. In this session, we consider the understudied impact of the Harlem-London axis and raise questions about its legacy upon American and British cultural landscapes, undeniably shaped by Black modernisms.

Check out the papers descriptions here: CAA2023

Register for CAA: https://www.collegeart.org/programs/conference/conference2023/registration

The session will be recorded and available to conference registrants until April 17, 2023.

CAA2021 | 20 Years of Critical Race Art History

ACRAH will be at CAA2021. Even though CAA will be virtual, we are participating. To find out about the conference and the virtual format, visit the CAA conference portal:
https://caa.confex.com/caa/2021/meetingapp.cgi/Home/0

We are celebrating our 20th anniversary with an interview between ourselves, your founding co-directors, and two emerging scholars Melanee Harvey, Howard University, and julia neal, UTexas-Austin. Plus we have some reflections from a range of scholars on how critical race art history informs their work. Our session information is on the following page of the CAA Conference portal:
https://caa.confex.com/caa/2021/meetingapp.cgi/Session/8073

The interview and presentations will be available on the CAA website for advanced viewing on February 5th, 2021. The live q&a for the session is on Friday, February 12, 2021 at 6pm.

Memorial Service for Helen Shannon @ University of the Arts

Helen Shannon Memorial-flyer

CFP: “Critical Race Art Histories in Germany, Scandinavia, and Central Europe” @ CAA2018

The following session for the 2018 College Art Association Annual Conference in Los Angeles, February, 21 – 24, 2018 is sponsored by the Historians of German, Scandinavian, and Central European Art (HGSCEA). They especially welcome submissions from ACRAH members.

Critical Race Art Histories in Germany, Scandinavia, and Central Europe

Chair: Allison Morehead, Queen’s University

Critical race theory, which entered art history through postcolonial analyses of representations of black bodies, has remained relatively peripheral to art historical studies of Germany, Scandinavia, and Central Europe, whose colonial histories differ from those of countries such as Britain, France, and the United States. At the same time, art historical examinations of white supremacy in the Nazi period are frequently sectioned off from larger histories of claims to white superiority and privilege. Centering critical race theory in the art histories of Germany, Scandinavia, and Central Europe, this panel will consider representations of race in the broadest of terms — including “white makings of whiteness,” in the words of Richard Dyer. We invite papers that together will explore the imagination and construction of a spectrum of racial and ethnic identities, as well as marginalization and privilege, in and through German, Scandinavian, and Central European art, architecture, and visual culture in any period. How have bodies been racialized through representation, and how might representations of spaces, places, and land — the rural or wilderness vs. the urban, for instance — also be critically analyzed in terms of race? Priority will be given to papers that consider the intersections of race with other forms of subjectivity and identity.

Please send 250-word proposals, a completed session participation proposal form, and a short academic CV to Allison Morehead at morehead@queensu.ca by 14 August 2017.

Please consult the guidelines at the end of the CAA Call for Participation (http://www.collegeart.org/pdf/call-for-participation.pdf) for further details.

CFP: ‘Curating Difference: Race and Ethnicity in the US Museum” ACRAH @ CAA2018

The CFP for the 2018 College Art Association Annual Conference has been posted online.

CAA2018 will be held in Los Angeles, California running from Wednesday, February 21st through Saturday, February 24th, 2018.

ACRAH will be holding the following session at the conference and invite submissions to participate on the panel:

Curating Difference: Race and Ethnicity in the US Museum

Chairs: Bridget Cooks, University of California, Irvine & Camara Holloway, ACRAH

This session is intended as a conversation addressing how to implement a critical race visual studies-informed practice in a museum setting. Topics for consideration include: how mainstream and/or culturally-specific institutions in the US have embraced such an approach; case-studies about exhibitions devoted to art made by US-based artists of color and/or art made about American communities of color; and strategies promoting greater racial and ethnic sensitivity amongst extant museum professionals as well as diversifying their ranks in terms of the ethno-racial backgrounds and/or awareness of future hires. Submissions from Los Angeles-area and West Coast-based curators and museum professionals are especially encouraged, as are topics focused on this region.

Deadline: August 14, 2017

A 250-word presentation abstract, a short CV, a statement of interest, and completed Session Participation Proposal Submission Form should be sent to both Camara Holloway at camara.holloway@icloud.com and Bridget Cooks at b.cooks@uci.edu

Please note that CAA now requires that all session participants be an active individual CAA member through February 24, 2018, and must register for at least the session in which you participate. Early conference registration at the discount rate opens in early October. Please refer to the CFP for additional details and instructions.

ACRAH at CAA 2016/Washington DC

See you next month at the College Art Association annual conference in Washington, D.C, to be held at the Washington Marriott Wardman Park Hotel for ACRAH’s session:

“Beyond the Veil: An Inside Look at the Smithsonian National Museum of African American History and Culture”

Saturday, February 6, 2016, 12:30-2 PM

See: Beyond the Veil session info

The session will be held in WASHINGTON 1 (EXHIBITION LEVEL) of the CAA Conference Hotel:

Washington Marriott Wardman Park Hotel

2660 Woodley Road NW, Washington, DC, 20008

Tel. 202 302-2000

Travel to the CAA Conference Hotel

CAA 2016 Conference Registration Info at: Attending ACRAH Session at CAA 2016/Washington DC