Nikki A. Greene, Ph.D.
Grime, Glass, and Glitter:
The Body and the Sonic in Contemporary Black Art
(Duke University Press, forthcoming)
This book manuscript is a new interpretation of the work of Renée Stout, María Magdalena Campos-Pons, and Radcliffe Bailey that considers the intersection between the body, black identity, and the sonic 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. (Available September 4)
“Riffing the Index: Romare Bearden and the Hand of Jazz,” in Music, Art and Performance From Liszt to Riot Grrrl: The Musicalisation of Art. Edited by Diane Silverthorne. Bloomsbury Publishing, 2018. (Available September 20)
“Vibrations in the Soul: Moe Brooker’s Sacred Paintings,” in a special edited volume, “Riff: African American Art and the European Canon,” Adrienne Childs and Jacqueline Francis, editors. Panorama: Journal of the Association of Historians of American Art vol. 4, no. 1 (Spring 2018).
“The Feminist Funk Power of Betty Davis and Renée Stout.” The Funk Issue of American Studies Journal, vol. 54. no. 4. (November 2013): 57-76.
Artists’ Utopia? Cuban Art Defined at the Eleventh Havana Biennial.” The Delaware Review of Latin American Studies, vol. 13, no. 2 (December 2012).
“The Veil of African-American Music in Aaron Douglas’ Song of the Towers.” The Mellon Minority Undergraduate Fellowship Journal. Cambridge, MA: Harvard University, 1997.
Exhibition Catalogue Essays and Entries
“In Spades: David Hammons as Esu.” Dark Humor: Joyce J. Scott and Peter Williams. Towson, MD: Towson Art Gallery, 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.
“Joyce J. Scott: Rodney King’s Head Smashed Like a Watermelon.” In Gwendolyn DuBois Shaw, Represent: 200 Years of African American Art in the Philadelphia Museum of Art. New Haven, CT: Yale University Press, 2015.
“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 1972-2012. Wellesley, MA: Davis Museum of Art, 2012.
“The Art of Moe Brooker: Reflections of the Human Spirit.” Moe Brooker: Carelessly Exact. Laurel, MS: Lauren Rogers Museum of Art. August 2009.
“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.
“Tear Down the Confederate Monuments – But What’s Next? 12 Art Historians and Scholars on the Way Forward.” Artnet News. August 23, 2017.
“Eating Ice Cream While Black.” WBUR-Bosoton. Cognescenti. August 15, 2016.
“Eating Ice Cream While Black (Or My Life in Wellesley, MA).” nikkigphd.com. July 31, 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 America, Yale University Press, 2013. Art History: Journal for the Association of Art Historians. November 2015.
Nikki A. Greene reads Ralph Ellison, Invisible Man. What Wellesley’s Reading. LTS. October 15, 2014. Audio.
Commissioned essays, projects and online features
“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.
“James Porter.” Grove Art Online. Oxford Art Online. Oxford University Press, 2009.
“The Contemporary African-American Art Scene in Philadelphia.” The Greater Philadelphia Tourism and Marketing Corporation, Philadelphia, PA. 2006.
“‘Let the Lower Lights Be Burning’: A History of the Lighthouse, 1893-2003.” The Lighthouse History Project. Philadelphia, PA. 2003.
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