TONIGHT! The City Talks: Sharing Black Histories Juneteenth @ the MFA Boston

THE CITY TALKS: SHARING BLACK HISTORIES Wednesday, June 19, 2019
7-8pm | Remis Auditorium

Join us tonight for a discussion with Boston-area thinkers, institutions, entrepreneurs, activists, city officials, and artists. I am honored to moderate this important conversation surrounding a central question: How should cultural institutions acknowledge Black histories?

If you cannot make it to museum tonight, our panel will be recorded and live-streamed by WGBH.


Moderator: Dr. Nikki A. Greene, Assistant Professor, Art, Wellesley College (She/Her/Hers)| Instagram: @nikkigphd; Twitter: @nikkigphd

Makeeba McCreary, Patti & Jonathan Kraft Chief of Learning & Community Engagement, Museum of Fine Arts, Boston (She/Her/Hers)

Makeeba McCreary assumed her role as the Patti and Jonathan Kraft Chief of Learning and Community Engagement at the Museum of Fine Arts, Boston (MFA), in January 2019. This newly created Leadership Team position centers on integrating diverse perspectives into the MFA’s programs and educational offerings to foster a better understanding of current issues through the lens of art. McCreary manages staff across four departments: Education; Volunteer and Community Engagement; Lectures, Courses and Concerts; and Film. Under her guidance, these teams oversee a wide range of programs, from community celebrations and film screenings to MFA Late Nites and City Talks with local thought leaders, with the goal of sparking visitors’ curiosity and creating meaningful personal experiences through the Museum’s collection. Prior to joining the MFA, McCreary served as the Managing Director and Senior Advisor of External Affairs for Boston Public Schools, reporting directly to the Mayor and Superintendent of Schools. A native Bostonian, McCreary received her doctorate in education from the Teachers College at Columbia University, a master’s degree in education from the Harvard Graduate School of Education, and a bachelor’s degree in psychology from the University of Massachusetts, Boston.

Destiny Polk, Founder, Radical Black Girl (She/Her/They/Divine) | Instagram: @Radicalblackgirl; Facebook: Radical Black Girl; Website: Radicalblackgirl.com

Warrior and Healer. Tender and unbreakable. Destiny “Divine” Polk, whose name means “That which has been firmly established, God has answered, Dance”, is a an afro-indigenous, choreographer and producer, multi-disciplinary artist, community organizer/space holder, art-educator and founder of art-activist platform Radical Black Girl. Destiny’s work is concerned about speaking truth to a country that attempts to rewrite its own history while having actively tried to suppress African and Native American history and culture. Des advocates for the radical awakening of the authentic self to become audacious, unapologetic and empowered. She intentionally creates spaces to support artists of color, low-income communities of color, womxn of color and young self identifying black girls.

Jason Talbot, Co-Founder, Artists for Humanity (He/Him/His) | Instagram: @afhboston; Twitter: @afhboston

A Co-Founder and AFH alumnus, Jason leads special projects at AFH. He brings technical skills acquired through Adobe’s Youth Voices Training program and undergraduate study at the Art Institute of Boston with work experience gleaned as a graphic designer for Turner Broadcasting and Going Interactive. He participated in the 2009 Cohort of the Emerging Leaders Program, University of Massachusetts Boston; received the 2013 Mentor of the Year Award from Youth Design; and named a member of 2014’s Top 40 Under 40 by the Boston Business Journal. He is a former member of WGBH’s Community Advisory Board and current member of WGBH’s Board of Overseers.

“New Perspectives on Portraiture”: Symposium & Book Release at the National Portrait Gallery – Sept. 20-21

The National Portrait Gallery’s Scholarly Center, PORTAL= Portraiture + Analysis, has announced the Edgar P. Richardson Symposium “New Perspectives on Portraiture” to be held in the museum’s Nan Tucker McEvoy Auditorium Sept. 20 and 21. The two-day event will bring together scholars whose work expands people’s perceptions of the diversity and complexity of portrayal in portraits. Speakers will investigate the power dynamics between artists and their sitters, the manipulation and evolution of portraits as physical objects, the dissemination of images and other aspects of this artistic genre.

Screenshot 2018-08-23 11.46.04.png

beyond the face cover.jpgCoinciding with the release of the new publication Beyond the Face: New Perspectives on Portraiture, which features essays by symposium participants, the two-day event will conclude with a book signing and public reception in the museum’s Kogod Courtyard. I will be presenting on my essay, “Habla LAMADRE: María Magdalena Campos-Pons, Carrie Mae Weems, and Black Feminist Performance.” The book and the symposium have already been reviewed here. This event is free to the public, but registration is required.

As the National Portrait Gallery celebrates its 50th Anniversary, the scholars brought together in Beyond the Face reconsider and expand the boundaries of the very definition of portraiture. As Smithsonian.com recently summarized in “How Can Museums Democratize Portraiture?”

Essays from an assortment of academic portrait experts, including the University of Delaware’s Jennifer Van Horn, the University of Georgia’s Akela Reason, and Wellesley College’s Nikki A. Greene, aim to bring portraiture to the people, showing how evocative images can be appropriated and re-contextualized to fuel social movements, and how seemingly crass variants on portraiture—ranging from newspaper caricature to the modern selfie—have often had the greatest lasting effects on American history.

My take on Campos-Pons’s and Neil Leonard’s (co-collaborator and husband) performance of Habla LAMADRE in 2014 considers how her insertion within the Guggenheim Museum stands as an exemplary performative portrait of a black feminist artist that is at once present and absent, still and in motion, familiar and foreign, historical and contemporary. In concert with the self-portraits and video performances by Carrie Mae Weems that were concurrently on view during her retrospective, Carrie Mae Weems: Three Decades of Photography and Video. They each distinctly reveal how the portrait of an African diasporic body acts as a site of difference, rupture, fantasy, and indeed, self, in ways not traditionally available in feminist art history. The essay will be expanded in a chapter of my book, Grime, Glass, and Glitter: The Body and the Sonic in Contemporary Black Art (Duke University Press, forthcoming).

See the full program below. I hope you’ll join us!

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Photos by Nikki A. Greene. All rights reserved.

Attendance is free and open to the public. Please register at the following links:

Day 1  | https://richardsonsymposium.eventbrite.com

Day 2 | https://richardsonsymposium2.eventbrite.com

Scholars will discuss such topics as the power dynamics between artists and their sitters, the manipulation and evolution of portraits as physical objects, and the dissemination of images. The symposium will explore how portraiture has evolved and how images of people reflect codes of behavior, social and political environments, and the rhetoric of the day.

Schedule:

Thursday September 20, 2018 2018

8 a.m. Check-in

9 a.m. SESSION 1: Materiality and the Profession of Portraiture

  • “Body Politics: Copley’s Portraits as Political Effigies during the American Revolution”

Lauren Lessing, Director, University of Iowa Stanley Museum of Art

Nina Roth-Wells, Paintings Conservator

Terri Sabatos, Associate Professor of Art History, Longwood University

  • “Prince Demah and the Profession of Portrait Painting”

Jennifer Van Horn, Assistant Professor of Art History and History, University of Delaware

  • “The Other’s Other: Portrait Photography in Latin America, 1890–1930”

Juanita Solano Roa, PhD candidate, Institute of Fine Arts, New York University

  • “Meaningful (Dis)placements: The Portrait of Luis Muñoz Marín by Francisco Rodón at the National Portrait Gallery”

Taína Caragol, Curator of Painting and Sculpture and Latino Art and History, Smithsonian’s National Portrait Gallery

11 a.m. Break

11:15 a.m. SESSION 1 | Panel Discussion

Moderated by Kim Sajet, Director, Smithsonian’s National Portrait Gallery

12 p.m. Lunch on your own

1:45 p.m. SESSION 2: Dissemination: Furthering Social, Political, Economic, and Religious Agendas

  • “‘Capital Likenesses’: George Washington, the Federal City, and Economic Selfhood in American Portraiture”

Ross Barrett, Associate Professor of American Art, Boston University

  • “Caricature Portraits and Early American Identity”

Allison M. Stagg, Visiting Lecturer in American Art History, Obama Institute for Transnational American Studies, Johannes Gutenberg-Universität Mainz

  • “Reconstruction Reconsidered: The Gordon Collection of the National Portrait Gallery”

Kate Clarke Lemay, Historian and Director of PORTAL, Smithsonian’s National Portrait Gallery

  • “Cloud of Witnesses: Painting History through Combinative Portraiture”

Christopher Allison, Collegiate Assistant Professor in the Humanities, Affiliate Faculty Member in the

Departments of History and Art History, University of Chicago

3:45 p.m. Break

4 p.m. SESSION 2 | Panel Discussion

Moderated by Wendy Wick Reaves, Curator Emerita of Prints and Drawings, Smithsonian’s National Portrait Gallery

Friday September 21, 2018

8 a.m. Check-in

9 a.m. SESSION 3: Reassessing Subjectivity

  • “Soul-Searching: The Portrait in Gilded Age America”

Akela Reason, Associate Professor of History, University of Georgia

  • “Photos of Style and Dignity: Woodard’s Studios and the Delivery of Black Modern Subjectivity”

Amy M. Mooney, Associate Professor of Art and Art History, Columbia College, Chicago

  • “Side Eye: Early Twentieth-Century American Portraiture on the Periphery”

Jonathan Frederick Walz, Director of Curatorial Affairs and Curator of American Art, The Columbus Museum

  • “Making Sense of Our Selfie Nation”

Richard H. Saunders, Director, Middlebury College Museum of Art, and Professor of History of Art and Architecture, Middlebury College

11 a.m. Break

11:15 a.m. SESSION 3 | Panel Discussion

Moderated by Kate Clarke Lemay, Historian and Director of PORTAL, Smithsonian’s National Portrait Gallery

12 p.m. Lunch on your own

1:45 p.m. SESSION 4: Theatricality, Performativity, and Play

  • “‘Let Me Take Your Head’: Photographic Portraiture and the Gilded Age Celebrity Image”

Erin Pauwels, Assistant Professor of Art History, Temple University

  • “Playing Against Type: Frank Matsura’s Photographic Performances”

ShiPu Wang, Professor of Art History and founding faculty of the Global Arts Studies Program, University of California, Merced

  • “Call It a Little Game between ‘I’ and ‘Me’: Mar/Cel Duchamp in the Wilson-Lincoln System”

Anne Collins Goodyear, Co-Director, Bowdoin College Museum of Art

  • “Habla LAMADRE: María Magdalena Campos-Pons, Carrie Mae Weems, and Black Feminist Performance”

Nikki A. Greene, Assistant Professor of Art History, Wellesley College

3:45 p.m. Break

4 p.m. SESSION 4 | Panel Discussion

Moderated by Asma Naeem, Chief Curator, Baltimore Museum of Art

5 p.m. Book Signing and Reception in Kogod Courtyard

L+M Lecture Series with Nikki A. Greene @ Express Newark – May 5

Nikki A. Greene - L+M Lecture Express NewarkI am deeply honored to return home to Newark, NJ to present “Newark: My Home in the Arts” as the inaugural speaker of the L +M Development Partners Lecture Series as an invitation from The Clement A. Price Institute on Ethnicity, Culture, and the Modern Experience
The lecture precedes the grand opening of Express Newark, a community-university collaborative space of Rutgers University-Newark. As a native Newarker, this art space in the former historic Hahnes Building is simply a dream-come-true and will serve the Newark community in meaningful ways.

Express Newark, an arts incubator conceived by Rutgers University-Newark (RU-N) faculty, staff, students, and community arts leaders, will occupy 50,000 of the structure’s massive 500,000 square feet. Building on an already high level of synergy among Newark’s anchor institutions, Express Newark will partner with community arts organizations in the city’s socially, economically, and culturally diverse neighborhoods. RU-N arts classes in Express Newark began with the spring semester on Jan. 17. Entrance to the building is at 54 Halsey St.; the building is designated as HAH on RU-N class schedules.

Express Newark is a bold plan to cultivate local artistic expression that resonates globally by facilitating public scholarship and community engagement, opening an exciting new chapter in the city’s cultural history. RU-N envisions Express Newark as the fulcrum of the city’s burgeoning Arts District, linking well-established institutions such as the Newark Museum, the Newark Public Library, the New Jersey Performing Arts Center, Military Park, and WBGO public radio, with Halsey Street’s studio art spaces and the Great Hall at RU-N’s 15 Washington Street. Designed by Goldwin Starrett and renowned for its striking architecture that embodies the department store aesthetic of early 20th Century urban America, Hahne’s has been an iconic focal point of the downtown Newark streetscape since opening in 1901.

Come celebrate with us!
Location: Express Newark Lecture Hall. 54 Halsey Street, Room 213. Newark, NJ.

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