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Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. Support Hyperallergic’s independent arts journalism for as little as $8 per month. Become a Member How often do you think of music when viewing a visual artwork — a painting, photograph, or collage mounted and framed? Scholar Nikki A. Greene’s new book, Grime, Glitter, and Glass: The Body and the Sonic in Contemporary Black Art , explores this juxtaposition, putting the visual into conversation with the aural and the tactile. Fittingly, the book’s structure follows the five main components of a song’s composition: “Prelude,” “Verse One,” “Verse Two,” “Verse Three,” and “Coda.” Greene focuses each verse on a single artist — Renée Stout, Radcliffe Bailey, and María Magdalena Campos-Pons, respectively — and dissects specific works in terms of musicality and sonic resonance as much as visual aesthetic. While the focus seems narrow, each verse does not rest with just one artist. Instead, it ambitiously presents the artist’s particular regional context of Black art, music, and people at large. In order to delve into Stout, for example, Greene frames the realities of the United States mid-Atlantic throughout the 20th century. For Bailey, the American South; for Campos-Pons, Cuba and Caribbean diasporic relations to the US. Thus each chapter blends mini-artist biographies with a socio-political historical account, mapping out a lush and generative artistic family tree. When writing about Stout, Greene references Betye Saar. Much of Campos-Pons ’s chapter is dedicated to Carrie Mae Weems. Bailey’s chapter is dotted with connections to Romare Bearden, David Hammons, Todd Gray, and director Barry Jenkins among others. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities And then, of course, there’s the music. Complete with an accompanying playlist , Greene maps sonic affect by relating artistic intention to musical artists, identifying musical influences for visual work, and highlighting actual music within work and performances. In “Verse One,” Greene compares Stout’s use of the physical form and the provocation of Black feminine sexuality in sculpture to that of funk and rock pioneer Betty Davis . For both artists, she draws out the ways in which defiance is often marked by stigma and society’s delayed understanding. “Verse Two” sees a more abstracted effort to explore Bailey’s mixed-media work within the dual reality of Black excellence and anti-Black violence demonstrated by the South, where the late artist was based. Greene first details the music video for hip-hop group Arrested Development’s “Tennessee” (1992) in which Bailey appears, drawing a line to jazz greats Miles Davis (invoking his aforementioned ex-wife Betty) and Sun Ra. “Verse Two” feels slightly unwieldy and disjointed, perhaps due to Greene’s effort to outline the weight of Black masculinity and shine with which these artists wrestle. More successfully, Campos-Pons’s “Verse Three” tackles the Western lack of recognition of Black validity: in contributions to art, in the power and gift of Black women, in Cuba’s struggle for autonomy, and more. Greene brings in saxophonist Neil Leonard’s heavily researched compositions for Campos-Pons’s work, such as the performance piece Identified (2016), connecting the dots with late Afro-Cuban singer Celia Cruz’s distinctive use of sugar — ¡Azucar! — as a claim of feminine, Black, and Afro-Caribbean power. For all its feats, this book is ultimately a scholarly work and occasionally veers into academic language. The coda, in particular, is a possibly too-dense display of social theories and observations from Greene. But while the style demands some additional effort from the reader, it also means that the numerous Black names in the book — of both visual and musical artists — are now forever published and etched into the record of increasingly interdisciplinary approaches to creative fields. Sun Ra’s Afrofuturistic jazz does interact with Romare Bearden’s collage style, which in turn impacts Bailey’s glittering “Pullman” heart. Exploring the sonic grime via funk, glitter via shine, and glass via colonial histories of Black contemporary art through these selected artists, Greene adds a novel component to Black American cultural critique. Grime, Glitter, and Glass: The Body and the Sonic in Contemporary Black Art (2024) by Nikki A. Greene is published by Duke University Press and is available online and through independent booksellers. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn FacebookAston Villa denied last-gasp winner in Juventus stalemateNone

The Salvation Army's Annual Red Kettle Campaign Launches With the Help of the Dallas Cowboys, Country Star Lainey Wilson, and Special Guest

NEW YORK (AP) — U.S. stocks tiptoed to more records amid a mixed Tuesday of trading, tacking a touch more onto what’s already been a stellar year so far. The S&P 500 edged up by 2 points, or less than 0.1%, to set an all-time high for the 55th time this year. It’s climbed in 10 of the last 11 days and is on track for one of its best years since the turn of the millennium. The Dow Jones Industrial Average slipped 76 points, or 0.2%, while the Nasdaq composite added 0.4% to its own record set a day earlier. AT&T rose 4.6% after it boosted its profit forecast for the year. It also announced a $10 billion plan to send cash to its investors by buying back its own stock, while saying it expects to authorize another $10 billion of repurchases in 2027. On the losing end of Wall Street was U.S. Steel, which fell 8%. President-elect Donald Trump reiterated on social media that he would not let Japan’s Nippon Steel take over the iconic Pennsylvania steelmaker. Nippon Steel announced plans last December to buy the Pittsburgh-based steel producer for $14.1 billion in cash, raising concerns about what the transaction could mean for unionized workers, supply chains and U.S. national security. Earlier this year, President Joe Biden also came out against the acquisition. Tesla sank 1.6% after a judge in Delaware reaffirmed a previous ruling that the electric car maker must revoke Elon Musk’s multibillion-dollar pay package. The judge denied a request by attorneys for Musk and Tesla’s corporate directors to vacate her ruling earlier this year requiring the company to rescind the unprecedented pay package. All told, the S&P 500 rose 2.73 points to 6,049.88. The Dow fell 76.47 to 44,705.53, and the Nasdaq composite gained 76.96 to 19,480.91. In the bond market, Treasury yields held relatively steady after a report showed U.S. employers were advertising slightly more job openings at the end of October than a month earlier. Continued strength there would raise optimism that the economy could remain out of a recession that many investors had earlier worried was inevitable. The yield on the 10-year Treasury rose to 4.23% from 4.20% from late Monday. Yields have seesawed since Election Day amid worries that Trump’s preferences for lower tax rates and bigger tariffs could spur higher inflation along with economic growth. But traders are still confident the Federal Reserve will cut its main interest rate again at its next meeting in two weeks. They’re betting on a nearly three-in-four chance of that, according to data from CME Group. Lower rates can give the economy more juice, but they can also give inflation more fuel. The key report this week that could guide the Fed’s next move will arrive on Friday. It’s the monthly jobs report , which will show how many workers U.S. employers hired and fired during November. It could be difficult to parse given how much storms and strikes distorted figures in October. Based on trading in the options market, Friday’s jobs report appears to be the biggest potential market mover until the Fed announces its next decision on interest rates Dec. 18, according to strategists at Barclays Capital. In financial markets abroad, the value of South Korea’s currency fell 1.1% against the U.S. dollar following a frenetic night where President Yoon Suk Yeol declared martial law and then later said he’d lift it after lawmakers voted to reject military rule. Stocks of Korean companies that trade in the United States also fell, including a 1.6% drop for SK Telecom. Japan’s Nikkei 225 jumped 1.9% to help lead global markets. Some analysts think Japanese stocks could end up benefiting from Trump’s threats to raise tariffs , including for goods coming from China . Trade relations between the U.S. and China took another step backward after China said it is banning exports to the U.S. of gallium, germanium, antimony and other key high-tech materials with potential military applications. The counterpunch came swiftly after the U.S. Commerce Department expanded the list of Chinese technology companies subject to export controls to include many that make equipment used to make computer chips, chipmaking tools and software. The 140 companies newly included in the so-called “entity list” are nearly all based in China. In China, stock indexes rose 1% in Hong Kong and 0.4% in Shanghai amid unconfirmed reports that Chinese leaders would meet next week to discuss planning for the coming year. Investors are hoping it may bring fresh stimulus to help spur growth in the world’s second-largest economy. In France, the CAC 40 rose 0.3% amid continued worries about politics in Paris , where the government is battling over the budget. AP Business Writers Yuri Kageyama and Matt Ott contributed.Louisville scores 52 second-half points to race past No. 14 Indiana in the Battle 4 Atlantis