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Critical Race Art History

Book Review Spring 2026 (12.1)

Hidden in Plain Sight: Concealing Enslavement in American Visual Culture

Reviewed by Rachel Burke

Colloquium Spring 2026 (12.1)

The #CharlestonStrong Machine

Kamau Pope

Colloquium Spring 2026 (12.1)

Navigating Archival Silences Through Art

Zoe Hume

Colloquium Spring 2026 (12.1)

HBCU Art Survival in the Wake of Federal Cuts

Aja Roache

Colloquium Spring 2026 (12.1)

Museum Studies Pedagogy as Noncompliance in an Era of Federal Censorship

Ashleigh Dior Coren

Research Note Spring 2026 (12.1)

New Archival Evidence on Robert Duncanson from Two Lawsuits: “Taylor vs. Taylor” (1859) and “Succession of Milton Taylor” (1872, 1876)

Katherine Gregory, Chris DeBow

Colloquium Spring 2026 (12.1)

Call and Response: DEIA Tensions in Scholarship, Practice, and National Identity

Keidra Daniels Navaroli, Frederica Simmons

An African American man, possibly Smalls, kneels in a grassy field, looking at his hands, with the title "Essays on African American Art and History" overlaid.

Book Review Spring 2025 (11.1)

The Art of Remembering: Essays on African American Art and History

Reviewed by James Smalls

The title "Beyond Vanity: The History and Power of Hairdressing" is displayed over a vintage hairbrush with natural bristles and an ornate silver handle.

Book Review Spring 2025 (11.1)

Beyond Vanity: The History and Power of Hairdressing

Reviewed by Sarah Gold McBride

Three women collaborate on a discussion about critical cataloging, writing notes on a paper labeled "TITLES."

Digital Dialogues Spring 2025 (11.1)

A Conversation on Critical Cataloging

Bree Midavaine, Rosalie Hooper, Sophia Meyers

Digital Dialogues Spring 2025 (11.1)

The Incluseum Metadata Schema: An Ongoing Learning Journey

Rose Paquet

A black ink and wash sketch on lined paper depicts a street scene with a large van labeled "EKINS" and "REKINS," a building, trees, and a crowd, dated April 30th, 1947.

Digital Dialogues Spring 2025 (11.1)

Considering Asian American Collections and Critical Cataloging

Christina Ayson-Plank, Rihoko Ueno

Pencil portrait of Teru Osato by Dorothy Jeakins, created in 1936 for the WPA Federal Art Project.

Research Note Spring 2025 (11.1)

Paperwork: Bureaucracy and Legibility in a WPA Portrait

Robin Owen Joyce

A polychrome ceramic jar, likely Acoma Pueblo, decorated with stylized birds, flowers, and foliage in brown, red, and black on a cream background.

Digital Dialogues Spring 2025 (11.1)

Critiquing the Catalog: The Fine Arts (N) Range of the Library of Congress Classification System, Systemic Bias, and the Potential of Digital Technologies

Stefanie Hilles

Sculptor Edmonia Lewis in a sepia-toned portrait.

Research Note Spring 2025 (11.1)

Encountering Edmonia Lewis in the Correspondence of Florence Freeman

Julia A. Sienkewicz

Close-up of inscription on fig. 13, reading "Mark and Dave"

Feature Article Spring 2025 (11.1)

Disability and Creativity: David Drake’s Vessels and the Art of Collaborative Craft

Jennifer Van Horn, Natalie E. Wright

George Bellows' painting depicts laborers working at an urban industrial site under a dark elevated structure, with distant city buildings under a pale sky.

In the Round Spring 2025 (11.1)

Can’t Get Enough: The Logics of Evidence, Anti-Blackness, and American Art History

Alexis L. Boylan

John Sloan's charcoal drawing depicts four men in hats, three seated and one standing, engaged in a conversation about finding work, with dialogue handwritten on the right.

In the Round Spring 2025 (11.1)

John Sloan’s Slow Awakening

John Fagg

Oil painting of urban street scene, with elevated train tracks and storefronts converging in one-point perspective. Several figures gather in front of a theater marquee on the left, including men in dark suits, a woman in a white shift carrying a pail, and several more women with furs and hats.

In the Round Spring 2025 (11.1)

Locating Blackness in John Sloan’s Neighborhood Scene

Lee Ann Custer

Murky, monochromatic drawing in browns and grays of young mean on a city street facing off and throwing objects at one another.

In the Round Spring 2025 (11.1)

The Real and Imagined Black-Built Environment of the Ashcan School

Jessica Larson

An expressive etching by J.C. Walsh titled "The Cakewalk," depicting two stylized figures in dynamic motion, performing a dance.

In the Round Spring 2025 (11.1)

Cakewalking the Color Line: George Luks, Racial Doublings, and Performance at the Turn of the Twentieth Century

Meaghan M. Walsh

George Bellows' painting "Both Members of This Club" depicts a boxing match between a Black and a white boxer, surrounded by an expressive crowd.

In the Round Spring 2025 (11.1)

Blackness, the Ashcan School, and Modern American Art

Jordana Moore Saggese, Gwendolyn DuBois Shaw

A black and white photo shows a large room filled with workers sorting vast quantities of index cards on long tables, with a massive card catalog system lining the back wall.

Digital Dialogues Spring 2025 (11.1)

Critical Cataloging: Researching American Art History on Its Own Terms

Tracy Stuber, Jennifer Way

Norman Parish's 1969 painting "Historical Gyrations" depicts a dynamic collage of figures and symbols representing American history and civil rights, including scenes of Black struggle, the Statue of Liberty, and an American flag.

Colloquium Fall 2024 (10.2)

Norman Parish’s Historical Gyrations

Michael Lobel

Three framed black and white photographs by Dawoud Bey, depicting dense sugarcane fields, are displayed on a dark gallery wall.

Exhibition Review Spring 2024 (10.1)

Dawoud Bey: Elegy

Reviewed by Sharayah L. Cochran

A portrait painting of an enslaved woman named Robertson.

Book Review Spring 2024 (10.1)

Portraits of Resistance: Activating Art During Slavery

Reviewed by Bruce Robertson

A 3D digital model of an African head sculpture, representing an item from the Philadelphia Museum of Art's collection, shown in a virtual environment.

Research Note Fall 2023 (9.2)

Philly Necrofutures: Digital Curation to Counter the Under-Resourcing of African Collections at the Philadelphia Museum of Art

Synatra Smith, Hilary Whitham Sánchez

A cyanotype photographic collage featuring San Francisco landmarks, street scenes, a busy beach, and two children in traditional Chinese clothing.

Research Note Fall 2023 (9.2)

Looking In, Looking Out: Mapping Chinese Exclusion and Imperial Expansion in a San Francisco Photographic Collage

Kevin Hong

Mid-century modern model Dorothy Rittner poses with a decorative art piece.

Book Review Spring 2023 (9.1)

Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design

Reviewed by Jennifer Rittner

A portrait of artist Will Wilson from his "Auto Immune Response" series is displayed on a tablet, with a framed print of a similar portrait visible in the background.

Exhibition Review Spring 2023 (9.1)

In Conversation: Will Wilson

Reviewed by Keidra Daniels Navaroli

An exhibition by Vences features three framed mirrors on a white wall, reflecting a statue, various artworks, and gallery visitors, with a row of small photographs displayed below.

Exhibition Review Spring 2023 (9.1)

Amalia Mesa-Bains: Archeology of Memory

Reviewed by Javier Arellano Vences

The Hawaiʻi State Capitol building in Honolulu, featuring its distinctive architecture, a statue, and the state seal, seen from a green lawn.

Colloquium Spring 2023 (9.1)

Hawai‘i Land Struggles and a Pacific Statehouse

Kelema Lee Moses

A Lewis Hine photograph shows a barefoot child newsboy holding papers and leaning on a fire hydrant on a busy city street with a streetcar in the background.

Research Note Fall 2022 (8.2)

“American” Photographs Abroad: Traveling with Lewis Hine

Natalie Zelt

Research Note Fall 2022 (8.2)

Asserting Agency: Meta Vaux Warrick Fuller’s Scrapbook

Erika Schneider

A black and white illustration of a man in a top hat and striped coat, whose face has been iconoclastically defaced, from Henry Bibb's 1849

Research Note Spring 2022 (8.1)

Iconoclasm on Paper: Resistance in the Pages of Narrative of the Life and Adventures of Henry Bibb, an American Slave, 1849

Ellery E. Foutch

An art studio features multiple easels displaying paintings, a rolling workstation, and a large window overlooking a vibrant bamboo garden.

Research Note Spring 2022 (8.1)

“Moral Lessons”: Charles Deas’s The Wounded Pawnee

Carol Clark

Feature Article Spring 2022 (8.1)

Seeing Flora’s Profile as Portrait

Phillip Troutman, Jennifer Van Horn

Animal hide with shell decorations in the form of a human figure flanked by animals

Colloquium Fall 2021 (7.2)

Where Is Imperial (British) America?

Janine Yorimoto Boldt

Wall shelf holding three piles of loose thread: red, white, and navy blue

Exhibition Review Fall 2021 (7.2)

Sonya Clark: Tatter, Bristle, and Mend

Reviewed by Jordana Moore Saggese

Cover of a playbill featuring a black-and-white lithograph of a Black man from the shoulders up

Colloquium Fall 2021 (7.2)

The Decolonization of John Sloan

Gwendolyn DuBois Shaw

A black and white photograph shows two hands holding large clumps of raw cotton.

Book Review Fall 2021 (7.2)

Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World

Reviewed by C.C. McKee

A black and white portrait by artist LaToya Ruby Frazier, depicting a woman with a large, textured hairstyle looking directly at the viewer.

Colloquium Spring 2021 (7.1)

Muholi: Risk and Reward at the Cummer Museum

Andrea Barnwell Brownlee

An expressive abstract painting features dark, jagged mountain-like forms against a bright blue sky, with vibrant streaks of yellow and red, and a distinct red shape floating in the upper left.

In the Round Spring 2021 (7.1)

Asian American Art and the Obligation of Museums

Aleesa Pitchamarn Alexander

An expressive painting depicts an empty, light-filled classroom with green blackboards, wooden desks, and walls adorned with grids of small animal and landscape images.

In the Round Spring 2021 (7.1)

Un-Disciplining the Archive: Jerome Reyes and Maia Cruz Palileo

Ellen Yoshi Tani

Two textured artworks hang on a white wall: a dark rectangular piece with a grid of recessed shapes, and a lighter square piece with a grid of small punctures.

In the Round Spring 2021 (7.1)

Returning to Dialectics of Isolation : The Non-Aligned Movement, Imperial Feminism, and a Third Way

Sadia Shirazi

In the Round Spring 2021 (7.1)

Sadakichi Hartmann’s American Art: Citizenship, Asian America, and Critical Resistance

Yinshi Lerman-Tan

A historical ledger page displays four black and white identification portraits of Chinese individuals, including women, with handwritten details about their lives and movements.

In the Round Spring 2021 (7.1)

In the Presence of Archival Fugitives: Chinese Women, Souvenir Images, and the 1893 Chicago World’s Fair

Z. Serena Qiu

The word 'PANORAMA' in bold white capital letters on a black background, with 'PANO' on the first line and 'RAMA' on the second.

Talk Back Spring 2021 (7.1)

Talk Back: But Who Will We Be?

Kimberly Orcutt, Naomi Slipp, Jacqueline Francis, Keri Watson

A museum exhibition entrance with reddish-brown panels titled "Devoted: Art and Spirituality in Mexico and New Mexico," leading into a gallery displaying religious artifacts in cases.

Colloquium Spring 2021 (7.1)

Looking Beyond Scholarship to Community Well-Being

Mark A. Castro

Colloquium Spring 2021 (7.1)

Looking Forward

Taylor Bythewood-Porter

ISSN 2471-6839

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