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Caitlin Beach

Assistant Professor of Art History

Beach Photo, Art History Faculty

Faculty Memorial Hall 443
Fordham University-Rose Hill Campus
441 E. Fordham Road
Bronx, NY 10458

Phone: 718-817-4892

Office Hours:  by appointment


AB, Bowdoin College; MA, MPhil, PhD, Columbia University


Eighteenth- and nineteenth-century European and American art; visual and material culture of the Atlantic world; histories of slavery, colonialism, and diaspora; sculpture.


Caitlin Beach focuses on transatlantic histories of art in the eighteenth and nineteenth centuries. Her work considers issues of race, visibility, and subject formation; the histories and consequences of enslavement and colonialism; the relationship between art and capitalism; and the materiality of sculpture. Her writing on these topics has appeared in Nka: Journal of Contemporary African ArtNineteenth-Century Art Worldwide, and in various museum catalogues.

Her book project, Sculpture at the Ends of Slavery, critically interrogates the ways sculpture gave visual form to transatlantic discourses on abolition during the nineteenth century. It is under contract with the University of California Press as the recipient of the 2018 Phillips Collection / University of Maryland Book Prize. In the academic year 2020-21 she is completing the manuscript in residence as an Andrew W. Mellon Fellow at the department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art. 

Before coming to Fordham, Beach was the 2016-2018 Wyeth Fellow at the Center for Advanced Study in the Visual Arts and taught in the Core Curriculum at Columbia University. Her research in the US, the United Kingdom, and Sierra Leone has been supported by grants and fellowships from Fordham as well as the Paul Mellon Centre for Studies in British Art, the Smithsonian American Art Museum, Columbia’s Cathedral Fund at the Royal Academy of Arts, and the Philadelphia Museum of Art.



Introduction to Art History
Eighteenth-century Art



“John Bell’s American Slave in the Context of Production and Patronage,” Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016)

“Meta Warrick Fuller’s Mary Turner and the Memory of Mob Violence,” Nka: Journal of Contemporary African Art (Spring 2015): 16-27.

Selected book reviews and catalogue entries

Review, Charmaine Nelson, Slavery, Geography and Empire in the Marine Landscapes of Montreal and Jamaica (Routledge, 2016),, April 2018, doi: 10.3202/

“Kara Walker, 40 Acres of Mules (2015),” Museum Research Consortium Dossier: Race and the Museum. New York: Museum of Modern Art, 2017, 85-88.