PUBLICATIONS

Porta di Lampedusa | Word & Image | Portable Gray | New Art Examiner | "Bochner's Italian Picture" (Bochner Boetti Fontana; Magazzino Italian Art) | "Ghosts for the Present" (on countercultural aesthetics and postcoloniality in Italy, on Wu Ming 2 and Fare Ala)

Tenley Bick, ed. “‘Italianicity is not Italy: Questioning Contemporary Italian Art History”/ “‘L’Italianità non è l’Italia’: riesaminando la storia dell’arte contemporanea italiana.” Palinsesti, n. 11 (forthcoming 2023). (special journal issue).

Tenley Bick, Michelangelo Pistoletto: Figuration and Cultural Politics (book, Yale University Press).

Tenley Bick, “A History of Black Diaspora Artists in Italy." In The Routledge Companion to African Diaspora Art History, edited by Eddie Chambers (London and New York: Routledge, 2023) (chapter).

Tenley Bick, "'Un sentimento di libertà': Toward a Transnational Italian Art History," Forum Italicum, special issue, Transnational Italian Studies, eds. Serena Bassi, Loredana Polezzi, and Giulia Riccò (2023) (article, forthcoming 2023).

Tenley Bick, “Postcolonial Retro-Futurism: Alessandro Ceresoli’s Linea Tagliero Prototypes.” International Yearbook of Futurism Studies 13, Neo-Futurism, edited by Günter Berghaus, Dalila Colucci and Tim Florian Klähn (forthcoming 2023).

Tenley Bick, "Porta di Lampedusa, porta d'Europa: Contemporary Monumentality, Entropy, and Migration at the Gateway to Europe," in Migrants Shaping Europe, Past and Present: Multi-lingual Literatures, Arts and Cultures, edited by Helen Solterer and Vincent Joos, 131–166 (Manchester: Manchester University Press, 2022).

Tenley Bick, "Where There’s Everything: Pistoletto, the Gruppo d’arte ‘l’Arlecchino,’ and Localist Internationalism in Presenze," Word & Image 38, n. 2 (June 2022): 132–164.

Tenley Bick, "Towards a Transnational Italian Art History: A User's Guide," Italian Art Society Newsletter 33, no. 2, The Global Future of Italian Art History, ed. Livia Lupi (Spring 2022): 11–13. Refereed invited essay.

Alvin Curran and Tenley Bick, "Spontaneous funghi: Musica Elettronica Viva and Lo Zoo in Turin, 1968. An interview with Alvin Curran." Portable Gray 5, no. 1 (Spring 2022): 118–139.

Tenley Bick, "Kounellis, Graffiti, and Migration: Notes on Arte Povera in Miami," New Art Examiner (Jan/Feb/Mar 2022): http://www.newartexaminer.org/arte-povera.html. Print forthcoming. Exhibition review, Arte Povera / Postwar Italian Art from the Margulies Collection (October 20, 2021 – April 30, 2022), cur. Katherine Hinds, The Margulies Collection at the Warehouse, Miami, FL.

Tenley Bick, “Make It Shine (Extraordinary Things Are Possible Between Beings): The Art of Marinella Senatore / Make It Shine (Cose straordinarie sono possibili tra persone): l'Arte di Marinella Senatore," in Marinella Senatore: Make It Shine, 7–19 (Turin: Mazzoleni, 2022). Italian translation by Howard Rodger MacLean. Exh. cat. [Link]

Tenley Bick, "Bochner's Italian Picture," in Bochner Boetti Fontana (Cold Spring, NY: Magazzino Italian Art, 2021), 40–47. Exh. cat.

Tenley Bick, “Other Hues of Blue: A Pandemic-Era Biennial in Atlanta.” New Art Examiner 35, no. 3 (January/February/March 2021): 33–37. Exhibition review of the 2021 Atlanta Biennial, Of Care and Destruction (cur. Jordan Amirkhani, Atlanta Contemporary, Atlanta, Georgia)

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.

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

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, 2012.

Tenley Bick, "Horror Histories: Apartheid and the Abject Body in the Work of Jane Alexander," African Arts 43, no. 4 (Winter 2010): 30–41.

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, 2005. Catalogue published in association with the exhibition held at the Cantor Arts Center.

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, 2012. Previously unpublished contribution. Translated by Tenley Bick from the original Italian. Catalogue published in association with the internationally traveling exhibition of the same title.

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, 2011): 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.