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.

Black Portraitures II: Out of Body: Composing Blackness through Sound, Music, and (Performance) Art

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To say that the Black Portraiture{s} II Conference that took place in Florence, Italy (May 28-31) was phenomenal does not quite capture the artistic and intellectual vibrancy–chemistry really–of the dynamic scholars and artists that gathered there. Such an honor to have known Dr. Deborah Willis, her artistic work and scholarship on photography for so many years. Dr. Willis is the University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University. She and her wonderful team of staff members from NYU, Harvard University, and other sites, executed a seamless conference experience from beginning to end.

Nikki A. Greene and Deborah Willis

Out of Body: Composing Blackness through Sound, Music, and (Performance) Art with Matthew D. Morrison, Kwami Coleman, and Imani Uzuri was one of my most fulfilling professional panels of my career. Moderated by jazz musician Hank Thomas, the description of our panel is as follows:

By listening to and engaging sonic histories and performances of blackness, this panel seeks to complement/complicate visual representations of blackness in Western art, as we consider how sound is articulated from, outside of, and onto (black) bodies through art, music, and performance. (Dis)Embodied acts of improvising and composing (of sound and identity), the “spirit” of sound, and the politics of (black) sound’s reception and circulation, will be themes that run throughout this panel.

Really, when you have a “spare hour,” hear us talk about our passion surrounding music. The whole panel was phenomenal (if I do say so myself). You won’t regret it. My paper “Facing the Music: Radcliffe Bailey, Sun Ra, and the African Diasporic Body” begins around minute 32. A heartfelt THANK YOU to Dr. Therí A. Pickens, who offered her take on our panel in her blog post, “Scholar Fierce: Doing Dilettante as a Scholar.” Dr. Pickens gracious remarks include:

During this panel, I felt like I learned some pretty basic stuff about jazz (how to listen), black figures in classical music, and how to read art (whether sung or materially crafted). In those moments, worlds opened up. I don’t want to overstate the case by saying that the earth moved. However, the tectonic plates of knowledge I have (which tend to move slowly) quaked and changed the terrain of my knowledge… just a bit. (Girl, thanks, for real!)

C’mon, now. THAT has to convince you to watch. For other recordings from the Black Portraiture{s} II conference, please visit the Black Portraitures website.

My next post will feature photos from BLACKNESS IN THE PUBLIC SPHERE: A DARK ROOM ROUNDTABLE at Black Portraitures II.

Even if you don’t have a full hour (and twelve minutes), here is a two-minute video of Imani singing from my perspective on the stage. I had to follow Imani Uzuris singing performance, so it took me a moment to gather myself.  She’s amazing. Enjoy!

From poor black kid to…Art Historian?

President Obama took a shot at Art History majors yesterday at a General Electric manufacturing plant. Obama’s comment is nothing new for us foolhardy art historians. A lawyer friend poked fun at me years ago: “Nikki, what are you going to do with a doctorate in Art History? Is someone gonna come up to you and say, ‘Ah, doctor, my painting hurts!'” I thought it was fitting to re-post my journey in Art History.

For those of you who have already read my post from fall 2011, “I was a poor black kid…”, you know that I come from pretty humble beginnings in Newark, New Jersey. Perhaps the next question is: why did you become an art historian? A question I get pretty often. My mother would tell you that already at the age of five, I was fascinated by everything connected with museums–cold marble floors, dazzling framed color, curious-faced visitors, the hushed atmosphere. She said that I was as contented and stimulated there as other children might be at Disney World (truth be told, I’m not a fan of Disney). My passion for art history initially stemmed from my love for and appreciation of museums, specifically The Newark Museum (what a great education program they have there!). Then, at 15, I left Newark and Connecticut for Barcelona (pronounced Bar-THAY-lona). I took my first art history course there in Spanish. It was a real trip to discuss Picasso, and then walk down Las Ramblas to get to the Picasso Museum. My bus route home to my Spanish host family literally went past Gaudí’s La Casa Batlló and La Casa Mila! How could that not have an impact?

As a Smithsonian High School Intern, I had wonderful opportunities to expand my understanding of the world beyond the arts, including meeting Rep. John Lewis (GA) along with my fellow teenage interns (now, on the left, Judge Asha Jackson from Georgia and Principal Shawna Becenti from New Mexico). Summer 1993.
As a Smithsonian High School Intern, I had wonderful opportunities to expand my understanding of the world beyond the arts, including meeting Rep. John Lewis (GA) along with my fellow teenage interns (now, on the left, Judge Asha Jackson from Georgia and Principal Shawna Becenti from New Mexico). Summer 1993.

I was awarded the National High School Internship at the Smithsonian Institution in the African American Studies Center the summer before starting college. I got to see the inner workings of the Smithsonian, and I knew then that I wanted to major in Art History. Oddly enough, the women that I worked with there warned me not to pursue a career in the arts (low pay, not enough jobs, etc.). So what did I do? I became a double major in Spanish Lit and Psychology at Wesleyan University. After a year and half of taking art history classes, I didn’t listen to those women anymore. I had the wonderful opportunity to work as an intern for the Amistad Center and the African American Art Collection of the Wadsworth Atheneum in Hartford, Connecticut. For two consecutive summers, I was in direct contact with the 6,000 piece collection of art, photographs, and artifacts that enabled me to study African American works within the larger frame of American art history (I’ll leave out the part where I worked at Burger King on the weekends to scrounge up money for the upcoming academic year. Talk about socio-cultural-economic shifts!).

What happened next? The abridged version: From Wesleyan to the University of Delaware (MA, Ph.D.) to adjunct teaching purgatory in the Philadelphia area to a Mellon Postdoc at Wellesley College to Assistant Professor at Wellesley College! Despite President Obama’s opinion that more money could potentially be made with a skill in manufacturing, I’m proud of my three Art History degrees. I’ve traveled internationally learning and teaching about art (Ethiopia, Canada, Cuba, and England, for example). I wouldn’t trade my life as an art historian for any other “trade” in the world. I’m not the richest woman, but I’m not doing too badly for a poor black kid!

Washington Post: “We know what President Obama thinks of art history majors. But what do they think of him?

(See About Nikki G for my current musings and brief cv)

The Grind: Mama PhD? Yes, I can!

This is a long overdue follow-up to a previous commentary on “Going To Ethiopia (Or Can Parents Really Have It All?).” I managed to spend three weeks in Ethiopia in January teaching African Art and taking in the sights, sounds, and smiles of Addis Ababa. Some of my readers followed my journey via this website and Facebook on my experiences I titled “Notes from Addis.” It was a successful trip, and I am sure that I will return. Being a Mama PhD abroad is only possible through the immeasurable support of my husband who holds down the fort for me during my absences.

My family at the Davis Museum of Art, Wellesley College. Fall 2012.
My family at the Davis Museum of Art, Wellesley College. Fall 2012. Photo by Judith Black.

What many of my readers did not know was that I was also on the job market. The academic job market is no joke. For those outside of higher education, the fact that the entire process from initial application to phone interview to campus interview to rejection/offer can take up to six months. So, in the midst of my world travel, I had the added pleasure/stress of pursuing tenure-track positions across the country. This process required even more days away from home almost as soon as I returned from Africa. In the midst of it all–teaching, parenting, interviewing–I did land a job. If you’ve already taken a look at my title, you know that I managed to land a place on the impressive (and therefore humbling) faculty in the Department of Art at Wellesley College as an Assistant Professor of Art, the Arts of Africa and the African Diaspora, specifically. Phew!

What I think many find particularly significant is that I did this with two small children. Due to my previous posts on this website, my little ones were no secret to my potential employers, including Wellesley College. One of my friends commented on how surprised she was that I didn’t just talk about my kids, but that I joyfully marched them around campus in full view of my colleagues (my kids kind of think the campus is an extended playground)! Actually, what she said was, “If it were me, I would have kicked them in the bushes.” Ok, that sounds cruel, but I understood her concern. Kids take up an immense amount of time, critical time to write, research, attend meetings, teach, write some more, especially when you’re trying to land tenure. What can I say? I’m a proud Mama PhD! I learned a long time ago when I decided to have my first child while I was writing my dissertation that academia was going to have to accept me with all of my grown-up responsibilities of raising a family during my childbearing years. On the flip side, I have had to rise to the challenge of accepting the demands of academia with my family in tow.

While many men do take on a lot of the responsibility for child-rearing, women tend to take on the bulk of the work of raising children, especially in academia due to our flexible schedules. Even when it comes to parental leave for the birth of a child, men tend to use the time to advance their research while most women use that time to, you know, take care of her newborn (See “On Parental Leave, Men Have It Easier,” Chronicle of Higher Education, January 7, 2005). For any woman struggling to advance a career in academia with a family, it is no secret that the balancing act takes the support of one’s immediate family, extended family, neighbors, friends, near and far to manage. As I juggle the summer schedule, self-imposed deadlines for articles and fall class prep are my motivation in the midst of camp and daycare drop-offs and pickups. Early mornings, late nights, and weekend work-days are the only way to accomplish my goals. Again, the supportive husband pictured above has made this compromise feasible.

My daughter spent a week taking classes at the Museum of Fine Arts, Boston. I dropped her off and picked her up most days. An exhausting and fulfilling opportunity.
My daughter spent a week taking classes at the Museum of Fine Arts, Boston. I dropped her off and picked her up most days. An exhausting and fulfilling opportunity.

I lean on my local “village” of neighbors (’cause it takes one to raise a child, right?) who are willing to take care of my kids in a pinch. Other times, I may just whine to my mom on the phone 200 miles away. The knowledge that I have peers and mentors who are also enduring (or who have already survived) similar situations comforts me in the midst of the struggle.

Two recent events this spring highlight a network of women who remind me that I am strong enough and human enough to do what I need/want to do as a Mama PhD. First, one my GFF’s (Grad Friend Forever), Tanya Pohrt, the Marcia Brady Tucker Fellow in American Paintings and Sculpture at the Yale University Art Gallery, defended her dissertation at the University of Delaware. She was the final member of our cohort of five who completed the doctoral program in the Department of Art History. I, along with two other GFF’s, surprised her when she emerged from the room. We each have two kids each. We each have jobs in either academia or museums. We each know the challenges faced to accomplish this tremendous accomplishment. We thought it important to mark the occasion together as fellow Mama PhDs!

The second event was Wellesley College’s 2013 Commencement. My colleagues at Wellesley are extraordinary. Again, I am humbled to join the ranks of the faculty here. I was grateful to take a photo with my fellow female scholars of African descent. Certainly scholars of color face additional stressors due to race and institutional racism in order to not only complete the PhD, but also to thrive in academia. [I’ll save my comments on race perhaps for another post. In the meantime, see the recent publication, Presumed Incompetent: The Intersections of Race and Class for Women in Academia.]

Drs. Brenna Greer, Layli Maparyan, Filomina Steady, Tracey Cameron, Angela Carpenter and Nikki Greene. May 2013. Copyright Nikki A. Greene.
Drs. Brenna Greer, Layli Maparyan, Filomina Steady, Tracey Cameron, Angela Carpenter and Nikki Greene at Wellesley College. May 2013. Copyright Nikki A. Greene.

This picture will continue to remind me that there are women who struggle and achieve by my side (single, married, with and without children). I thank all of these women–friends, colleagues, neighbors–who make being a Mama PhD not only possible, but a thrill.

A summer break…

Under a Cape Cod sky…

Labor Day is approaching, which means the unofficial end to summer and a return to teaching. I’m ready. I had a busy summer. Even though I didn’t tweet or write a single entry for this site, I basically stayed on the grind, balancing writing and time home with my kids. With the help of a writing group, I managed to write entries on Radcliffe Bailey and Ellen Gallagher for an upcoming exhibition catalogue, A Generous Medium: Photography at Wellesley 1972-2012,  for the Davis Museum, a review of the 11th Havana Biennial, and an article on Betty Davis (finally!). I’ll include links to the articles when they become available.

Unlike last year when I had to pack my home to move to Wellesley, I actually had fun this summer! Three dear friends came to visit me from New Mexico and Atlanta, and I went to my first Red Sox game with them. I got to meet #2 Jacoby Ellsbury after the game!

Also, a long weekend in New York City…

The Guggenheim

A trip to Provincetown on Cape Cod…

and a stay in Martha’s Vineyard…

helped me rejuvenate, reconnect, and relax! When you’re in the midst of the grind, you don’t realize how much you need a break from it all–until you get it!

But, now it’s time to get ready for another semester. I’m continuing at that the Newhouse Center for the Humanities as a Mellon Postdoc at Wellesley College. I’m going to work away on my manuscript, and I will be teaching my class, “African Art and the Diaspora: From Ancient Concepts to Postmodern Identities.”

El Anatsui, “A Strip of Earth’s Skin” (2008)

I’m looking forward to getting back into my research and back into the classroom. Stay tuned for more posts on those topics.

Here’s to the start of another great academic year!


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