The ACRAH/CAA2026 panel will be Excavating Race in the Archive
This session will remote/hybrid on Thursday, February 19, 2026 at 11:00am – 12:30pm local Chicago time. If you are in Chicago you can attend in person at the Hilton Chicago – 3rd Floor – Williford B.
Check out the full session description here: CAA2026
The ACRAH Business Meeting will be held in the same room on Thursday, February 19, 2026 from 1:00pm-2:00pm local Chicago time.
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).
The Association of Print Scholars (APS) invites thematic proposals for its sponsored panel at the 2023 College Art Association (CAA) Annual Conference to be held in New York, NY, February 15–18, 2023.
The APS-sponsored panel may be related to any period, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.
If you are interested in chairing a panel, please submit a title and 250-word abstract by April 15, 2022. Co-chaired proposals are welcome. Once the theme and chair of the panel are selected, the panel will solicit contributors through CAA’s open call. Chair or co-chairs must be members in good standing of APS and CAA.
Please send your proposed panel’s title and abstract, along with a 2-page CV to caacoordinator@printscholars.org. The deadline for consideration is April 15, 2022.
Note:The College Art Association’s Annual Conference is scheduled to take place in New York, NY, February 15–18, 2023. There is a possibility of an additional virtual component.
You may view this announcement online.
caa.confex.com/caa/2022/webprogrampreliminary/Session9195.html
caa.confex.com/caa/2022/webprogrampreliminary/meeting.html
Black Collage
Session will present: Virtual
Julie L. McGee, University of Delaware
Email Address(s):mcgee@udel.edu
Black Collage, before and beyond Romare Bearden, respects the multivalent nature inherent to Black and Collage. How have and do artists and scholars participate in the un-doing of modernist tropes associated with a history of collage that displaced Black subjectivity and agency? Black collage may adhere to a practice of coller, in reference to the French verb which means to paste or glue, but in ways that don’t inherently bind this practice to European Modernism, Pablo Picasso or Georges Braque. Suppose coller hews more to adhesive than metaphor–that Black collage transcends pieces for compositional uniqueness, a symphony’s manuscript. Black American artists used collage before Bearden, yet there is no denying the centrality of his work to this conversation. Indeed, Bearden’s significance calls us to think deeply about the extended practice and importance of collage and Black artists. Among the many who have are Ralph Ellison, Kobena Mercer, Patricia Hills, James Smalls, Jacqueline Francis, Ruth Fine, and Brent Hayes Edwards. In early 1961, while living in Stockholm, Sam Middleton completed a treatise on collage that placed his own work in a direct line of inheritance from Picasso and Cubism to Surrealism and Dada—for its radical aesthetic refusals and nowness. Appropriating Shahn, Middleton wrote, “Art always has its ingredients of impudence, its rejection of established order so that it may substitute its own fresh and contemporary authority and its own enlightenment.” This session invites contributions related to Black collage, audacity and enlightenment. Considerations of history, theory, conservation, and artistic practice are welcome.
Chair: Susanna Gold, Tyler School of Art, Temple University, gold@temple.edu
The dynamics of mixed race heritage has long been a stable point of inquiry in historical American literature, music, theater, politics and speech, but this issue has been thought to emerge less often in visual culture. There are very few examples of American art that follow the tradition of 18th-century Mexican and Peruvian casta paintings illustrating the practice and results of mestizaje, the mixing of distinct categories of peoples and the development of new peoples. But are American images of multiracialism truly rare, or is the art historical scholarship limited because there lacks a clear academic understanding of which images can be understood to address mixed race heritage? Is there a cultural tendency for scholars to classify figures in American art according to an overly determinate white/non white dichotomy, which avoids the relevance of a shared, divided, or indistinct racial ancestry? This session invites papers that enlarge the art historical scholarship on race mixing, and provide new possibilities for recognizing and analyzing how complexities of a multiracial heritage affected identity construction and found expression in visual imagery. Papers that address art practices in the art of the United States, 18th-20th centuries, are welcome.
Please send paper title, abstract (200-300 words), curriculum vitae, and letter of interest to Susanna Gold (gold@temple.edu) by May 9, 2014.
For more information about the 2015 conference, please see: http://www.collegeart.org/pdf/2015CallforParticipation.pdf
ACRAH 