Abstract
In this essay, the author contends that Nicki Minaj practices what he terms nicki-aesthetics, a form of black performance art that employs an extravagant theatricality and a vivid, intensely hued style. Nicki-aesthetics shares qualities with the sensibility of camp, as outlined in Susan Sontag's 1964 article “Notes on ‘Camp,’” yet challenges camp's assumed association with white gay men as well as its reduction of women to objects (rather than subjects) within the camp universe. Nicki-aesthetics realigns blackness and camp as mutually constitutive (rather than oppositional) forms, while reconfiguring camp as a black female-centered practice. In addition, Nicki Minaj demonstrates her dexterity at performing nicki-aesthetics in an offbeat interview on Elle magazine's website while deploying avatars to play multiple roles. In doing so, nicki-aesthetics' quirky blend of artifice and alterity ultimately rebukes hip-hop's obsession with authenticity.
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