Greene Nikki A (46 results)

Condition: very_good.

Softcover, 272 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: New. 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.…

Condition: new.

Paperback. Condition: new. Paperback. 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 RenEe Stout, Radcliffe Bailey, and MarIa Magdalena Campos-Pons, Greene traces the intersection of the visuals sonic possibilities with the Black bodys 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 Baileys use of multilayered surfaces of glitter, mud, and recycled materials to meditate on Sun Ras Afrofuturism to Stouts life-size cast of her own body that recalls funk musician Betty Davis to Campos-Ponss 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. Focusing on the art of Renee Stout, Radcliffe Bailey, and Maria Magdalena Campos-Pons, Nikki A. Greene examines how Black visual artists use sonic elements to refigure the formal and philosophical developments of Black art and culture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: New.

Condition: New. 2024. paperback. . . . . .

Paperback. Condition: New. 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.…

Paperback. Condition: Brand New. 288 pages. 9.00x6.00x0.75 inches. In Stock.

Condition: New. In English.

Condition: New.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New.

Condition: New. 2024. paperback. . . . . . Books ship from the US and Ireland.

Condition: As New. Unread book in perfect condition.

hardcover. Condition: Fine.

Taschenbuch. Condition: Neu. Neuware - 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.…

Condition: New. &Uumlber den AutorNikki A. Greene is Associate Professor of Art History at Wellesley College.

Paperback. Condition: New. 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.…

Paperback. Condition: new. Paperback. 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 RenEe Stout, Radcliffe Bailey, and MarIa Magdalena Campos-Pons, Greene traces the intersection of the visuals sonic possibilities with the Black bodys 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 Baileys use of multilayered surfaces of glitter, mud, and recycled materials to meditate on Sun Ras Afrofuturism to Stouts life-size cast of her own body that recalls funk musician Betty Davis to Campos-Ponss 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. Focusing on the art of Renee Stout, Radcliffe Bailey, and Maria Magdalena Campos-Pons, Nikki A. Greene examines how Black visual artists use sonic elements to refigure the formal and philosophical developments of Black art and culture. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Condition: New. 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.…

Condition: new.

Condition: As New. Unread book in perfect condition.

Condition: New.

Hardback. Condition: New. 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.…

Condition: New.

Condition: New.