Sinking Colour/Colouring Skin: Thinking through Race in Bruce Nauman’s Body Painting

WORKS CITED

• Adams, Parveen. ‘Bruce Nauman and the Object of Anxiety’. October 83 (1998): 96–113.
   Google Scholar
• Boaden, James. ‘Black Paintings (with Asheville Citizen)’. Art History 34.1 (2011): 166–91. doi: 10.1111/j.1467-8365.2010.00804.x
   Web of Science ®Google Scholar
• Bradley, Rizvana. ‘The Performative Genealogies of Black Abstraction’. Lecture, Modern Art Oxford, Oxford, UK, 20 Apr. 2017.
   Google Scholar
• Brandt, Henry. Nomades du Soleil. Musée cantonal d’archéologie et d’histoire, Lausanne, Switzerland, 1954. 44 minutes.
   Google Scholar
• Butterfield, Jan. ‘Bruce Nauman: The Center of Yourself (1975)’. Please Pay Attention Please: Bruce Nauman’s Words. Ed. Janet Kraynak. Cambridge, MA: MIT Press, 2005. 173–84.
   Google Scholar
• Chave, Anna. ‘Minimalism and the Rhetorics of Power’. Contents 64.5 (1990): 44–63.
   Google Scholar
• Chiong, Kathryn. ‘Nauman’s Beckett Walk’. October 86 (1998): 63–81. doi: 10.2307/779108
   Google Scholar
• Clifford, James. ‘Ethnographic Surrealism’. Comparative Studies in Society and History 23.4 (1981): 539–64. doi: 10.1017/S0010417500013554
   Web of Science ®Google Scholar
• de Angelus, Michelle. ‘Interview with Bruce Nauman (1980)’. Please Pay Attention Please: Bruce Nauman’s Words. Ed. Janet Kraynak. Cambridge, MA: MIT Press, 2005. 197–295.
   Google Scholar
• Edwards, Adrienne. Blackness in Abstraction. New York: Pace Gallery, 2016.
   Google Scholar
• Fanon, Frantz. Black Skin, White Masks. Trans. Charles Lam Markmann. London: Pluto Press, 1986.
   Google Scholar
• Fer, Briony. ‘Disquiet Color’. Bruce Nauman: Disappearing Acts. Ed. Kathy Halbreich. New York: Museum of Modern Art, 2018. 220–29.
   Google Scholar
• Foster, Hal. Return of the Real: The Avant-Garde at the End of the Century. Cambridge, MA: MIT Press, 1996.
   Google Scholar
• Grossman, Wendy. ‘Con(text) and Image: Reframing Man Ray’s Noire et blanche’. Phototextualities: Intersections of Photography and Narrative. Ed. Alex Hughes and Andrea Noble. Albuquerque: University of New Mexico Press, 2003. 119–35.
   Google Scholar
• Grossman, Wendy and Steven Manford. ‘Unmasking Man Ray’s Noire et blanche’. American Art 20.2 (2006): 134–47. doi: 10.1086/507505
   Google Scholar
• Guagnini, Nicolás. ‘White Male/Black Balls’. Bruce Nauman: Disappearing Acts. Ed. Kathy Halbreich. New York: Museum of Modern Art, 2018. 144–49.
   Google Scholar
• Halbreich, Kathy, ed. Bruce Nauman: Disappearing Acts. New York: Museum of Modern Art, 2018.
   Google Scholar
• Halbreich, Kathy ‘Social Life’. Bruce Nauman: Exhibition Catalogue and Catalogue Raisonné. Ed. Neal Benezra. New York: Distributed Art, 1994.
   Google Scholar
• Hugo, Joan. ‘Bruce Nauman (1994)’. Art + Performance: Bruce Nauman. Ed. Robert Morgan. Baltimore: Johns Hopkins University Press, 2002. 221–23.
   Google Scholar
• Jones, Amelia. Body Art: Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
   Google Scholar
• Kratz, Corrine A. ‘The Case of the Recurring Wodaabe: Visual Obsessions in Globalizing Markets’. African Arts 51.1 (2018): 24–45. doi: 10.1162/AFAR_a_00390
   Web of Science ®Google Scholar
• Krauss, Rosalind. ‘Notes on the Index: Seventies Art in America’. October 3 (1977): 68–81. doi: 10.2307/778437
   Google Scholar
• Krauss, Rosalind. ‘Notes on the Index: Seventies Art in America. Part 2’. October 4 (1977): 58–67. doi: 10.2307/778480
   Google Scholar
• Krauss, Rosalind. ‘Two Moments from the Post-Medium Condition’. October 116 (2006): 55–62. doi: 10.1162/octo.2006.116.1.55
   Google Scholar
• Kraynak, Janet, ed. Please Pay Attention Please: Bruce Nauman’s Words. Cambridge, MA: MIT Press, 2005. 173–84.
   Google Scholar
• Lepecki, André. Exhausting Dance: Politics and the Performance of Movement. New York: Routledge, 2006.
   Google Scholar
• Lewallen, Constance M. ‘A Rose Has No Teeth: Bruce Nauman in the 1960s’. A Rose Has No Teeth: Bruce Nauman in the 1960s. Los Angeles: University of California Press, 2007. 7–116.
   Google Scholar
• Maurice, Alice. Cinema and Its Shadow: Race and Technology in Early Cinema. Minneapolis: University of Minnesota Press, 2013.
   Google Scholar
• Mitchell, W J T. Seeing through Race. Cambridge, MA: Harvard University Press, 2012.
   Google Scholar
• Morgan, Robert. ‘Bruce Nauman: An Introductory Survey’. Art + Performance: Bruce Nauman. Ed. Robert Morgan. Baltimore: Johns Hopkins University Press, 2002. 1–24.
   Google Scholar
• Nauman, Bruce and Joan Simon. ‘Breaking the Silence: An Interview with Bruce Nauman (1988)’. Please Pay Attention Please: Bruce Nauman’s Words. Ed. Janet Kraynak. Cambridge, MA: MIT Press, 2005. 317–38.
   Google Scholar
• Raengo, Alessandra. On the Sleeve of the Visual: Race as Face Value. Lebanon, NH: Dartmouth University Press, 2013.
   Google Scholar
• Raengo, Alessandra and Lauren Cramer. ‘Blue Black: Color and Abstraction in the Contemporary Moment’. Panel at the College Art Association 2019 Conference, New York, NY, 19 Feb. 2019.
   Google Scholar
• Satterwhite, Jacoby. ‘On the Art of Bruce Nauman’. Artforum 57.2 (2018): 80.
   Google Scholar
• Solomon, Andrew. ‘Complex Cowboy; Bruce Nauman’. New York Times 5 Mar. 1995, Section 6, 18.
   Google Scholar
• Spillers, Hortense. ‘Mama’s Baby, Papa’s Maybe: An American Grammar Book’. Diacritics 17.2 (1987): 64–81. doi: 10.2307/464747
   Web of Science ®Google Scholar
• Spillers, Hortnese, et al. ‘“Whatcha Gonna Do?”: Revisiting “Mama’s Baby, Papa’s Maybe: An American Grammar Book”; A Conversation with Hortense Spillers, Saidiya Hartman, Farah Jasmine Griffin, Shelly Eversley, and Jennifer L. Morgan’. Women’s Studies Quarterly 35.1–2 (2007): 299–309.
   Google Scholar
• Walsh, Taylor. Bruce Nauman. Boston, MA: MIT Press, 2018.
   Google Scholar