Read ings

ACRAH – Association for Critical Race Art History


The Association for Critical Race Art History is a professional organization that promotes art historical scholarship from a critical race perspective.

CRITICAL RACE ART HISTORY is a scholarly commitment to the investigation of race in art and visual culture. This critical approach asserts that notions of difference have always mattered in visual culture and that such concepts now consolidated under the rubric of race play a fundamental role in modern life. Critical race art history seeks to reveal how concepts of race are manifest in visual representation and expose the construction of visual power. ACRAH offers a forum for such committed considerations of race in relationship to art and visual culture.

  • The intellectual and geo-political scope of critical race art history is necessarily broad since racial ideologies have long shaped attitudes about artistic creativity, determined access to formalized instruction, governed artistic choices regarding content and form, and informed the criteria of value, taste, and beauty upon which aesthetic judgments are based. This field of inquiry strategically employs a range of methodologies including formalism, social and cultural history, semiotics, and psychoanalysis, for they address artistic practices, contexts of artistic production, and the visualized motifs that make the meta-language of race operational.
  • We embrace intellectual and institutional partnerships with groups pursuing scholarship in related fields of art history and disciplines such as American studies, race and ethnic studies, gender and sexuality studies, Diaspora studies, and modernist studies.



Third Text

Third Text has established its key position at the critical interface of contemporary art practice and theory with specific focus on the impact of ‘globalization’. In its twenty-six year history the journal has created an archive of knowledge production to benefit artists, researchers and art historians worldwide.

Third Text took a pioneering interest in the exclusionary zones of ‘centre’ and ‘periphery’ and challenged Eurocentric and ethnocentric notions inherent to aesthetic criteria that marginalized or neglected the work of culturally diverse contemporary artists. The journal moved on to develop its postcolonial discourse in the direction of institutional critique, and it now seeks to address the complex cultural realities that are emerging and competing for recognition in the globalized artworld.

The crucial issue today is the critical appraisal of contemporary art in the context of this globalized artworld, without a centre, and yet one where the spectre of neocolonialism is ever present. What are the commercial and institutional forces that are shaping art history today? Who is deciding on the present ‘value’ of art and for which audience?


Afterall is a research and publishing organisation based in London. Founded in 1998 by Charles Esche and Mark Lewis at Central Saint Martins College of Art and Design, University of the Arts London, Afterall focuses on contemporary art and its relation to a wider artistic, theoretical and social context.

SAAVY Journal

The aim of this bilingual journal is to revitalise an open and academic discourse on contemporary artistic positions and art projects related to Africa and its Diaspora. The journal strives, on the one hand, at partaking in and steering the current debate on contemporary African art, and on the oth- er hand at formulating and instigating new critical questions, positions and discourses. SAVVY | art. contemporary.african. aims, with zeal and zest, not only at shading light on these issues but also at paving the way for a new generation, as well as a shift in the subject matter from the defensive‚ co- lonial, post-/ Neo-colonial focus to an offensive, self-confident and interdisciplinary cultural, fine art and art historical nucleus. A further focal point is the art scene in the German-speaking coun- tries, where this journal is the first of its kind and where the methodologies of curating contempo- rary African art need to be investigated.