• PUBLICATIONS

    FORTHCOMING AND RECENT PUBLICATIONS:

    Tenley Bick, "'Bochner's Italian Picture." In Bochner Boetti Fontana (Cold Spring, NY: Magazzino Italian Art, forthcoming 2020). Exh. cat.

     

    Tenley Bick, "'My world now is black in color': Pandemic-Era Programming, Activism, and Contemporary Art in Italy," CAA International News (Aug. 11, 2020): http://www.collegeart.org/news/2020/08/11/international-news-my-world-now-is-black-in-color-tenley-bick/.

     

    Tenley Bick, "Ghosts for the Present: Countercultural Aesthetics and Postcoloniality for Contemporary Italy. The Work of Wu Ming 2 and Fare Ala," in Does "la lutte continue"? The Global Afterlives of May '68, edited by William Cloonan, Barry Faulk, Martin Munro, and Christian Weber. Lanham, MD: Lexington Books, 2020 (in press). (also listed below)

     

    Tenley Bick, “What Goes Around Comes Around: Myth and Male Trauma in Somali Diasporic Cinema." Third Text 33, no. 2 (2019): 153–177. https://doi.org/10.1080/09528822.2019.1599577. (also listed below)

    Book in Preparation

    Where There’s Everything: Michelangelo Pistoletto and World-Building in Arte Povera

    Articles in Preparation

    "‘Dove c’è tutto’: Michelangelo Pistoletto, Presenze, and Italian Avant-Gardism in Late 1950s Turin”

     

    “Michelangelo Pistoletto's Comizi (1965–1966): Pop, Protest, and Politics in Early Arte Povera"

     

    "Porta d’Europa: Monuments, Interventions, and Migration on Lampedusa”

    Articles and Book Chapters

    2020 "Ghosts for the Present: Countercultural Aesthetics and Postcoloniality for Contemporary Italy. The Work of Wu Ming 2 and Fare Ala," in Does "la lutte continue"? The Global Afterlives of May '68, edited by William Cloonan, Barry Faulk, Martin Munro, and Christian Weber. Lanham, MD: Lexington Books (in press).

     

    2019 “What Goes Around Comes Around: Myth and Male Trauma in Somali Diasporic Cinema." Third Text 33, no. 2 (2019): 153–177. https://doi.org/10.1080/09528822.2019.1599577.

     

    2012 “Suspensions of Self-Perception: On Vision and Subjectivity in Contemporary Art.” In Theorizing Visual Studies: Writing Through the Discipline, edited by James Elkins and Kristi McGuire, with Maureen Burns, Alicia Chester, and Joel Kuennen, 242–45. New York: Routledge.

     

    2010 "Horror Histories: Apartheid and the Abject Body in the Work of Jane Alexander," African Arts 43, no. 4 (Winter): 30–41. https://doi.org/10.1162/afar.2010.43.4.30

    Book

    2005 Faberman, Hilarie, with Susan B. Cameron and Tenley Bick. Fired at Davis: Figurative Ceramic Sculpture by Robert Arneson, Visiting Professors, and Students at the University of California at Davis, from the Paula and Ross Turk Collection. Stanford: Cantor Arts Center. Catalogue published in association with the exhibition held at the Cantor Arts Center.

    Translation

    2012 Celant, Germano. “Interview.” Interview by Miwon Kwon and Philipp Kaiser. In Ends of the Earth: Land Art to 1974, edited by M. Kwon and P. Kaiser, 123–27. Los Angeles: Museum of Contemporary Art. Previously unpublished contribution. Translated by Tenley Bick from the original Italian. Catalogue published in association with the internationally traveling exhibition of the same title.

    Conference Proceedings

    2011 Rosenfield, Susan, Lucian Gomoll, Tenley Bick, Kirk Sides, and Samuel M. Anderson. “First Word: Reports on the Fifteenth Triennial Symposium of African Arts.” African Arts 44, no. 3 (Autumn): 1–9. Review of the Fifteenth International Triennial Symposium of African Arts organized by the Arts Council of the African Studies Association (ACASA), UCLA, Mar. 23–27. Authored review of the Triennial film program. Films reviewed: Sandrine Loncke, Dance with the Wodaabes (2011); Elizabeth Perrill, Ukucwebezela: To Shine (2010); and Susan Vogel, Fold, Crumple, Crush: The Art of El Anatsui (2011). Invited review. [Available for download on academia.edu.]