Nika Elder specializes in North American art from the colonial period to the present, including African-American art and the history of photography. Her current research and courses examine the mutually constitutive relationship between art and race throughout modern American history.
Her first book, William Harnett’s Curious Objects: Still-Life Painting after the American Civil War (under contract with University of California Press), charts the politics of painting in the Gilded Age. A related research article, “William Harnett Shows His Hand,” appears in the spring 2016 issue of the Archives of American Art Journal.
She is currently at work on a new project that locates and interprets the work of 18th-century Anglo-American painter John Singleton Copley in the context of the transatlantic slave trade. A related research article co-authored with Diana Greenwald is forthcoming in Winterthur Portfolio’s special issue on Material Culture and Enslavement.
In addition to these book projects, Prof. Elder has published essays on contemporary artists Lorna Simpson (Art Journal, spring 2018), Kara Walker, and Fred Wilson (The Routledge Companion to African American Art).
Her research has been supported by The Metropolitan Museum of Art, Winterthur Museum, Garden and Library, the Amon Carter Museum of American Art, Crystal Bridges Museum of American Art, the Center for Advanced Study in the Visual Arts at the National Gallery of Art, the Wyeth Foundation, and the Smithsonian American Art Museum.
Before coming to AU, Prof. Elder taught at the University of Florida, Vassar College, and Princeton University. She received her PhD and MA, with a certificate in Media and Modernity, from Princeton University, and BA in art history and studio art from Wellesley College.
For more on Prof. Elder's research and teaching, see nikaelder.com.
ARTH-336 African-American Art
ARTH-432 Amer Art: Civl War-Civl Rights
William Harnett’s Curious Objects: Still-Life Painting after the American Civil War (under contract with University of California Press)
John Singleton Copley and the Culture of Slavery (in progress)
“In the Flesh: John Singleton Copley’s Colonial Portraits and Whiteness” (forthcoming in Art History)
"Art Institutions and Race in the Atlantic World, 1750-1850," co-edited with Catherine Roach and Daryle Williams, Commentaries section for American Art (forthcoming summer 2022)
“Enslaved Labor and Cultural Capital: A Quantitative and Qualitative Analysis of Copley’s Colonial Portrait Commissions,” co-authored with Diana Greenwald, Winterthur Portfolio special issue on Enslavement and Its Legacies (winter 2020), pgs. 223-243.
“African-American Art and the White Cube,” Routledge Companion to African American Art History (London: Routledge, 2019), pgs. 337-348.
"Lorna Simpson’s Fabricated Truths," Art Journal (spring 2018), pgs. 30-53.
"William Harnett Shows His Hand," Archives of American Art Journal (spring 2016), pgs. 26-49.