Nikki A. Greene, Ph.D. Assistant Professor of the Arts of Africa and the African Diaspora, Art Department, Wellesley College, Wellesley, Massachusetts
Woodrow Wilson Career Enhancement Fellow (2016-17)
Nikki A. Greene received her BA in Art History from Wesleyan University, and her Masters and Ph.D. in Art History from the University of Delaware. Dr. Greene examines African American and African identities, the body, feminism, and music in modern and contemporary art.
She arrived at Wellesley College in 2011 where she held a Mellon Postdoctoral Fellowship in the Africana Studies and Art Departments. She joined the Wellesley College faculty as an Assistant Professor in the Art Department in 2013. Before her arrival at Wellesley, she held the Barra Foundation Fellowship in the Center for American Art at the Philadelphia Museum of Art to catalogue the African American art collections. She also taught at Swarthmore College, Temple University, Moore College of Art and Design, and Rutgers University at Camden. In January 2013, she gave a series of lectures on African Art at the Alle School of Fine Arts and Design at Addis Ababa University in Ethiopia. During her sabbatical for the 2016-17 academic year, she holds the Richard D. Cohen Fellowship at the W. E. B. Du Bois Research Institute at the Hutchins Center for African and African-American Research at Harvard University and the Woodrow Wilson Career Enhancement Fellowship.
Her book manuscript, Rhythms of Grease, Grime, Glass, and Glitter: The Body in Contemporary Black Art, presents a new interpretation of the work of David Hammons, Renée Stout, María Magdalena Campos-Pons, and Radcliffe Bailey, and considers the intersection between the body, black identity, and the musical possibilities of the visual. Recent and upcoming publications include: “The Feminist Funk Power of Betty Davis and Renée Stout” in a special edition of the American Studies Journal (Fall 2013); “Deana Lawson and Nikki A. Greene in Conversation about the Emanuel 9” in Aperture: Vision & Justice Online (June 2016); “Wind, Sunshine, and Flowers: The Visual Cadences of Alma Thomas’s Washington, DC,” in the exhibition catalogue, Alma Thomas (Studio Museum in Harlem & Tang Teaching Museum, 2016); and “Romare Bearden and the Hand of Jazz,” in Studies in Music, Art and Performance From Romanticism to Postmodernism: The Musicalisation of Art, edited by Diane Silverthorne (Bloomsbury Press, 2018).
Photo by Nikki A. Greene
Nikki A. Greene is originally from Newark, NJ, and she lives with her husband and two children in Massachusetts. She “muses” here about her academic interests, travel, and the challenges of the work-life balance.
Thursday, February 16, 2017 @ 3:30-5:00 p.m. Trianon Ballroom, 3rd floor, Hilton Midtown, New York: “Vibrations of the Soul: Moe Brooker and the Influence of Wassily Kandinsky.” Association for Critical Race in Art History (ACRAH) Panel: “Riff: Black Artists and the European Canon.” College Art Association Conference.
March 9, 2017 @ 6:30 p.m.: “The Body as Portraiture.” Center for the Arts Gallery, Towson University, Towson, MD.
Wellesley College Office of Admissions video featuring ARTH 100