A01=Nikki A. Greene
African diaspora
Afro-Cuban art
Afrofuturism
Age Group_Uncategorized
Age Group_Uncategorized
Alexandria Smith
American art
Author_Nikki A. Greene
automatic-update
Betty Davis
Black death
Black feminism
Black identity
Category1=Non-Fiction
Category=AC
Category=AGA
Category=HBTB
Category=JBSL
Category=JFSL
Category=JFSL3
Category=NHTB
Celia Cruz
Christina Sharpe
COP=United States
David Hammons
Deana Lawson
Delivery_Delivery within 10-20 working days
Emmanuel Nine
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
fetish
funk music
improvisation
jazz
Language_English
Liz Gre
Maria Magdalena Campos-Pons
music
PA=Available
performance art
photomontage
Price_€20 to €50
PS=Active
Radcliffe Bailey
rap
Renee Stout
Romare Bearden
rumba
shine
softlaunch
sugar
Sun Ra
visual aesthetic musicality
Product details
- ISBN 9781478030577
- Weight: 544g
- Dimensions: 152 x 229mm
- Publication Date: 01 Oct 2024
- Publisher: Duke University Press
- Publication City/Country: US
- Product Form: Paperback
- Language: English
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In Grime, Glitter, and Glass, Nikki A. Greene examines how contemporary Black visual artists use sonic elements to refigure the formal and philosophical developments of Black art and culture. Focusing on the multimedia art of RenÉe Stout, Radcliffe Bailey, and MarÍa Magdalena Campos-Pons, Greene traces the intersection of the visual’s sonic possibilities with the Black body’s physical, representational, and metaphorical use in art. She employs her concept of “visual aesthetic musicality” to interpret Black visual art by examining the musical genres of jazz and rap, along with the often-overlooked innovations of funk and rumba, within art historiography. From Bailey’s use of multilayered surfaces of glitter, mud, and recycled materials to meditate on Sun Ra’s Afrofuturism to Stout’s life-size cast of her own body that recalls funk musician Betty Davis to Campos-Pons’s performative and sculptural references to sugar that resonate with the legacy of Celia Cruz, Greene outlines how these artists use mediums such as molded glass sculptures, viscous wet plaster, and dazzling mannequin heads to enhance the manifestations of Black identity. By foregrounding the sonic elements of their work, Greene demonstrates that these artists use sound to make themselves legible, recognizable, and audible.
Nikki A. Greene is Associate Professor of Art History at Wellesley College.
