Nikki A. Greene, Ph.D.
Book Manuscript: Rhythms of Grease, Grime, Glass, and Glitter: The Body in Contemporary Black Art
A new interpretation of the work of David Hammons, Renée Stout, María Magdalena Campos-Pons, and Radcliffe Bailey that considers the intersection between the body, black identity, and the musical possibilities of the visual, using key examples of painting, sculpture, photography, performance, and installation.
Habla LAMADRE: María Magdalena Campos-Pons, Carrie Mae Weems, and Black Feminist Performance.” Beyond the Face: New Perspectives on Portraiture. Edited by Wendy Wick Reeves. London: D. Giles, Ltd, 2018.
“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. London: Bloomsbury Publishing, 2018.
“Deana Lawson and Nikki A. Greene in Conversation About the Emmanuel 9.” Aperture Conversations. {Reprint. Vision and Justice Online, 2016}. Edited by Melissa Harris and Michael Famighetti. New York: Aperture Foundation, 2018
“Tear Down the Confederate Monuments – But What’s Next? 12 Art Historians and Scholars on the Way Forward.” Artnet News, August 23, 2017.
“In Spades: David Hammons as Esu.” Dark Humor: Joyce J. Scott and Peter Williams. Towson, MD: Towson Art Gallery, 2017.
Beyond ‘Mona Lisa Smile’: Art, Race, and Social Media in the Classroom.” WBUR Edify. January 6, 2017.
“‘Wind, Sunshine, and Flowers’: The Visual Cadences of Alma Thomas’s Washington, DC,” in Alma Thomas (exhibition catalog). New York: Studio Museum in Harlem; Tang Teaching Museum, 2016.
“Eating Ice Cream While Black.” WBUR-Bosoton. Cognescenti. August 15, 2016.
Deana Lawson and Nikki A. Greene in Conversation about the Emanuel 9.”  Aperture: Vision & Justice Online. June 2016.
Book Review: “Un-bound: The Sites of Blackness Set Free,” Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural AmericaYale University Press, 2013. Art History: Journal for the Association of Art Historians. November 2015. 
“Joyce J. Scott: Rodney King’s Head Smashed Like a Watermelon.Represent: 200 Years of African American Art in the Philadelphia Museum of Art. New Haven, CT: Yale University Press, 2015.
Nikki A. Greene reads Ralph Ellison, Invisible Man. What Wellesley’s Reading. LTS. October 15, 2014. Audio.
“The Feminist Funk Power of Betty Davis and Renée Stout.” The Funk Issue of American Studies Journalvol. 54. no. 4. (November 2013): 57-76.
“Notes From Addis: Teaching at the Alle School of Fine Arts & Design,” Friends of the Library Newsletter, vol. 31. no. 1. Wellesley College. March 2013
Manuel Mendive Performance at the Bertolt Brecht Cultural Center, Havana, Cuba.
Manuel Mendive Performance at the Bertolt Brecht Cultural Center, Havana, Cuba.
“Artists’ Utopia? Cuban Art Defined at the Eleventh Havana Biennial.” The Delaware Review of Latin American Studies, vol. 13, no. 2, December 2012.
“The Sounds of Áshe in Radcliffe Bailey’s Echo” and “Make Space the Place” (on Ellen Gallagher’s Abu Simbel). A Generous Medium: Photography at Wellesley College 1972-2012Wellesley, MA: Davis Museum of Art, 2012.
James Porter.” Grove Art OnlineOxford Art Online. Oxford University Press, 2009.
“The Art of Moe Brooker: Reflections of the Human Spirit.” Moe Brooker: Carelessly Exact. Laurel, MS: Lauren Rogers Museum of Art. August 2009.
The Contemporary African-American Art Scene in Philadelphia. The Greater Philadelphia Tourism and Marketing Corporation, Philadelphia, PA. 2006.
“Unveiling and Collecting Emerging Artists,” in Unveiling, Series I: The Photography of Will Downing and the Art of New and Emerging African-American Artists. Philadelphia, PA: BroNel Productions, Inc. and WD Productions; ArtJaz Gallery, 2005.
“‘Let the Lower Lights Be Burning’: A History of the Lighthouse, 1893-2003.” The Lighthouse History Project. Philadelphia, PA. 2003.
“The Veil of African-American Music in Aaron Douglas’ Song of the Towers.The Mellon Minority Undergraduate Fellowship Journal. Cambridge, MA: Harvard University, 1997.

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