Book in Preparation
Where There’s Everything: Michelangelo Pistoletto and Arte Povera's Global Vision
"Minimalism's Colonial Desire" (article under review)
Articles and Book Chapters
2021 Tenley Bick, “Make It Shine (Extraordinary Things Are Possible Between Beings): The Art of Marinella Senatore,” essay in a forthcoming exhibition catalog on Marinella Senatore, Make It Shine, from Mazzoleni Gallery (Turin).
Tenley Bick, “Porta di Lampedusa, porta d'Europa: Contemporary Monumentality, Entropy, and Migration at the Gateway to Europe” (forthcoming chapter in a volume on migrations in Europe, edited by Helen Solterer and Vincent Joos, Manchester University Press).
Tenley Bick, “Where There’s Everything: Pistoletto, the Gruppo d’arte ‘l’Arlecchino,’ and Localist Internationalism in Presenze.” Forthcoming article, Word & Image.
Tenley Bick, "Bochner's Italian Picture," in Bochner Boetti Fontana (Cold Spring, NY: Magazzino Italian Art), 40–47. Exh. cat. Commissioned essay.
Tenley Bick, “Other Hues of Blue: A Pandemic-Era Biennial in Atlanta.” New Art Examiner (April 2021). Exhibition review of the 2021 Atlanta Biennial, Of Care and Destruction (cur. Jordan Amirkhani, Atlanta Contemporary, Atlanta, Georgia). In print and online.
Tenley Bick, "Ghosts for the Present: Countercultural Aesthetics and Postcoloniality for Contemporary Italy. The Work of Wu Ming 2 and Fare Ala," in Global Revolutionary Aesthetics and Politics after Paris '68, edited by William Cloonan, Barry Faulk, Martin Munro, and Christian Weber, 45–77. Lanham, MD: Lexington Books, 2021.
2020 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/.
2019 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.
2012 Tenley Bick, “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
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.
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.
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.]
© Tenley Bick, PhD 2020