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.
Our new article has been published in kritische berichte.
Abstract:
This essay outlines the foundations and aims of Critical Race Art History, a methodological approach that examines how race operates in art and visual culture. Through case studies of artworks ranging from 18th-century porcelain to contemporary art, the authors reveal how racial hierarchies are naturalized through representation. They argue that race functions as a structuring visual logic and call for a critical reexamination of art history’s disciplinary assumptions.
Check it out here: https://journals.ub.uni-heidelberg.de/index.php/kb/article/view/113082
Jacqueline & Camara
The Slavery North Research Institute at the University of Massachusetts at Amherst is pleased to announce three fellowship opportunities for the 2026-2027 Academic Year.
The deadline for all Slavery North fellowship applications is Sunday, September 21, 2025.
About Slavery North Fellowships
The Slavery North fellowship program welcomes national and international students, artists, and scholars, providing them with the space, funding, time, and community to produce transformative research outcomes. Slavery North Fellows actively participate in both the scholarly and social environment of the center. Slavery North Fellows, with support of Slavery North leadership, conduct independent research and create original works in one or more of the five mandate areas of Slavery North which include 1) Canadian Slavery, (2) slavery in the US North, (3) the comparative study of slavery in Canada, the US North, and other northern or temperate regions, (4) the study of the inter-connectedness of slavery in Canada and the US North with Caribbean Slavery, and (5) Black-Indigenous relations in Canadian Slavery or US North Slavery. Furthermore, the research must center on the enslaved and/or adopt an anti-colonial, de-colonial, post-colonial, and/or anti-racist methodology/approach which challenges the nature of European and Euro-American imperialism and colonialism and interrogates the racist logic of the institution of Transatlantic Slavery.
Visiting (Open Rank) Research Professor
See Full Job Description and Apply: https://careers.umass.edu/amherst/en-us/job/527921/visiting-open-rank-research-professor
Graduate Student Fellow (MA, MFA, or PhD)
See Full Job Description and Apply: https://careers.umass.edu/amherst/en-us/job/527920/slavery-north-research-fellow
Artist-in-Residence Fellow
Link to Full Job Description and Apply: https://careers.umass.edu/amherst/en-us/job/528032/slavery-north-artistinresidenceresearch-fellow
Questions can be directed to: Emily Davidson emilydavidso@umass.edu
Forgotten Histories of New Deal Art in Florida
Tuesday, March 25, 5:00PM PST/8:00PM EST
Here is the link to register for the webinar: https://www.eventbrite.com/e/forgotten-histories-of-new-deal-art-in-florida-tickets-1257489247189?aff=oddtdtcreator
Description:
As one of the largest and oldest states in the American South, Florida, the Sunshine State, is a powerhouse of industry, leisure, entertainment and politics in the twenty-first century. It is also crucial for understanding the diverse history of New Deal art and public works. This webinar describes how New Deal emergency relief and recovery programs impacted Florida, particularly programs that funded the construction of public space and public access to art.
Co-hosted by Dr. Mary Okin, Living New Deal’s Assistant Director and head of the Advocating for New Deal Art initiative, and Jeff Gold, Member of LND’s New York City Chapter, the webinar features Dr. Mary Ann Calo and Dr. Keri Watson in conversation with one another about their research into Florida’s New Deal history. The talks will center on confronting the complex legacies of New Deal public works and public art programs in Florida in the twenty-first century, and the challenges of researching this era of Floridian history, as both scholars reconstruct the regional diversity, range of local participants, and just how many of Florida’s New Deal projects survive.
Speakers:
Dr. Mary Ann Calo is the Batza Professor Emerita of Art and Art History at Colgate University where she taught courses on the art of the United states, Modern and Contemporary Art, and the Arts and Public Policy. She is the author of numerous publications on the critical and institutional contexts that shaped discourse on African American art in the interwar decades. Her recent book, African American Artists and the New Deal Art Projects (Penn State University Press, 2023), explores the African American community’s participation in the “projects” in terms of intersecting issues of race, access, and opportunity. The book includes extensive archival research and new insights into the history of the Federal Art Project in Florida.
Dr. Keri Watson is an Associate Professor of Art History at the University of Central Florida and a specialist in the history of American art. Her most recent book Florida’s New Deal Parks and Post Office Murals (History Press, 2024) introduces general audiences to the history of New Deal public works with a general audience, exploring the rich history of state parks and post offices built in Florida between 1931 and 1946 under the auspices of the Civilian Conservation Corps, Public Works Administration, Civil Works Administration, Works Progress Administration, and Treasury Section of Painting and Sculpture. Looking at Florida’s Depression-era parks and post offices in concert elucidates how the natural and built environments work together to constitute the cultural landscape and provides insight into the role of the federal government in Florida’s construction as an exotic and tropical paradise.
Jeff Gold, Living New Deal New York City Chapter
Jeff Gold is an urbanist who has earned his living as an acquisitions editor, a partner at new media partnership JIA, and director of the Institute for Rational Urban Mobility (IRUM), an eco-transport nonprofit. He also chairs the steering committee of the Metro New York Health Care for All Campaign and serves on the board of the National Jobs for All Network. And he’s active in electoral politics at the local, state, and national level.
The 35th Annual James A. Porter Colloquium
on African American Art and Art of the African Diaspora
Dates: April 3-5, 2025
Locations:
Colloquium Theme Synopsis:
The Shape of Race
In partnership with the Driskell Center at the University of Maryland, College Park, the Association of Critical Race Art History, the Smithsonian American Art Museum, the Howard University Gallery of Art and the National Gallery of Art, the Department of Art in Howard University’s Chadwick A. Boseman College of Fine Arts invites the public to convene to examine new developments in the area of critical race art history.
Register for Driskell Center events on Thursday, April 3, 2024 by clicking the links below:
4:00PM Deity of the Circle Performance
6:00PM Distinguished Lecture by Dr. Kellie Jones
All additional registration can be completed through this eventbrite page.
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).
ACRAH’s co-directors Jacqueline Francis and Camara Holloway will be presenting as a part of this series. See below.
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:
The Department of Art History in the Tyler School of Art and Architecture at Temple University invites applications for a full-time, tenure-track faculty position at the Associate Professor or Professor rank specializing in the Art and Visual Culture of the African Diaspora, to start fall 2025.
Though the chronological parameters of research are flexible, the committee welcomes applicants whose teaching and scholarship are centered on cross-cultural encounters and exchanges—examining the ways in which art is produced and circulates through networks of trade and immigration, and how its discourse is formed by the dynamics of race, colonialism, post-colonialism, and globalization. We are especially interested in candidates who can contribute to the department’s effort to decolonize curricula. Successful candidates will be expected to have and maintain a strong research agenda. Candidates will join a community of scholars dedicated to best teaching practices and innovative instructional design and technologies, with a commitment to undergraduate and graduate teaching and mentoring.
The position involves teaching two classes per semester, including a range of courses at the undergraduate level and graduate seminars; the teaching load includes advising graduate students in Art History at the M.A. and Ph.D. levels, as well as MFA students in various areas of studio practice. In addition, candidates should demonstrate willingness to participate fully in the intellectual life of the department, School, and University, and to contribute to a culture of collaboration and service at Tyler.
Since 1935, Tyler has offered students instruction from a world-renowned faculty combined with the resources of Temple University, a large, urban research institution. Tyler’s programs encompass a wide range of areas in the study of art, design, art history, art education and architecture. In each program, students benefit from state-of-the-art facilities, a rigorous curriculum and a large, diverse campus community. Tyler’s Department of Art History has a faculty of 11 full-time members who specialize in areas ranging from the Bronze Age to Global Contemporary art. Temple is home to a renowned department of Africology and African American Studies, the first in the country to offer a doctoral program in the field. Among Temple’s libraries is the Charles L. Blockson Afro-American Collection, which comprises over over 500,000 items relating to the global Black experience. The university’s Charles Library houses the Loretta C. Duckworth Scholars Studio, a space for teaching, learning, and collaborative research in digital humanities, digital arts and cultural analytics.
Philadelphia is a city with rich resources that showcase African American history and culture, including the African American Museum in Philadelphia, the Brind Center for African and African Diasporic Art at the Philadelphia Museum of Art, the Dox Thrash House, the annual BlackStar Film Festival, and Scribe Video Center, among others.
The successful candidate will hold a Ph.D. and have a record of research commensurate with rank on application and demonstrate an appropriate level of teaching experience and service. Salary will be commensurate with qualifications and experience. Temple University is an equal opportunity, equal access, affirmative action employer committed to increasing diversity and inclusivity in both its community and its curricula. Women, people of color, and other candidates who can contribute to this goal are strongly encouraged to apply.
The letter of application should include the following:
1) Statement that describes research and teaching interests, philosophy, and experience, including past accomplishments in fostering a culture of diversity in their field of research and in the classroom. Candidates are encouraged to address the ways in which they could contribute to Temple’s institutional mission and commitment to excellence and diversity, and to Tyler’s engagement in interdisciplinarity.
2) Signed and dated CV;
3) 3 letters of reference from full-time faculty which are signed on letterhead;
4) 2 sample course syllabi;
5) Writing sample.
Finalists will be expected to supply official terminal degree transcripts and student evaluations for courses taught.
To apply, please visit https://temple.slideroom.com/#/Login to create an account and upload
your application materials If you need assistance during the uploading process, please email
support@slideroom.com
Review of applications begins on Monday November 25, 2024. The position remains open until filled.
Address further inquiries to Prof. Mariola Alvarez, Search Committee Chair mariola.alvarez@temple.edu
Event held March 26, 2024 at the Graduate Center, CUNY
How is our basic perception of the world influenced by concepts of racial identity? Join us for an illuminating discussion with the authors of four recent books exploring the intertwined histories of photography, media, and race. The panel of experts on art and visual culture features Brooke Belisle, associate professor of art at Stony Brook University, speaking on computational imagery and AI; Emilie Boone, assistant professor of art history at New York University, on Harlem Renaissance photographer James Van Der Zee; Monica Huerta, assistant professor of English and American studies at Princeton University, on the aesthetics of racial capitalism; and Nicholas Mirzoeff, professor of media, culture, and communication at New York University, on the visual politics of whiteness. Claire Bishop, professor of art history at the CUNY Graduate Center, moderates.
ACRAH 