215:, are examined from myriad perspectives. Green's work investigates the shifts and gaps in what lives in private and public impressions as well as what has been envisioned and formulated. Her videos, exhibitions, and films have been presented and viewed in biennales, museums, and festivals across the world. As scholar Alexander Alberro notes, Green's attempt is not a didactic one, rather an invitation to participate in the construction of knowledge, as well as shifting perception: "Green consistently gives the spectator a central role in the process of deconstructing genealogical discourses and assuming subject positions. Indeed, a feature that recurs in her installations is the production of interactive environments that galvanize the viewer into the role of an equal participant in the construction of meaning."
226:. This work encapsulates her use of appropriation to reevaluate history and claim attention to its type of presentation. In order to produce this work, Green incorporated “traditional bucolic scenes typical of eighteenth-century upholstery fabric with violent scenes of enslavement and uprisings. Benign floral garlands frame images of the lynching of a Frenchman during the Haitian revolution and of an enchained and unclothed black man kneeling by the desk of a sumptuously dressed white man. Using this fabric, Green constructs installations reminiscent of museum period rooms, with chairs, settees, drapes, and wallpaper crafted from the pinkish-red toile. She subverts the toile and period room as historical types to tell alternative histories.”
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832:, her two-year project at Harvard University's Carpenter Center for Visual Arts, focused on the building's iconic design by Le Corbusier. Green acknowledges conditions of displacement and residency, institutional memory, subjective experience, architectural modernism, notions of progress, and the certainty of decay, all the while reevaluating how time is manifested. Green consistently seeks to expand the likelihood of working within institutions.
553:—Baker's voice, singing "Voulez-vous de la canne" ("Would you like some sugar cane?"), plays in a loop in the background. The artwork also involved a peephole through which viewers could see an image of Baartman standing on a crate, therefore aligning this kind of sideshow with pornography. These texts can be read on the slats of a wooden platform, reminiscent of the crude constructions used to display and sell
590:, whom Green treats as a "native informant" while he assessed that state of Hip Hop in the United States through German magazines. Green confronted ideologies surrounding cultural economy and pointed to disparities between the production and economy of culture. The archive of cultural fragments she displayed challenged the ethics of cultural appropriation without historical context; images of Angela Davis and
557:, that the viewer accesses via a short stair. Once there, the viewer finds themselves spotlit, their shadow thrown against an attached scrim, and looked at through an illuminated hole in the floor by a pair of motorized, spectacled eyes that wink. Rather than observing performing black female bodies transformed into eroticized spectacle, it is the viewers themselves that become the performance/spectacle.
825:(2014). From March 6–7, 2014 Green presented her two-year collaboration project with John Akomfrah, OBE, and Lina Gopaul called Cinematic Migrations. This presentation was a symposium. This project "poses the notion of “migrations" in relation to "the cinematic" in an intentionally porous juxtaposition, conceived to allow a wide range of questions, interpretations and permutations to emerge.
340:; MAK Center for Art and Architecture at the Schindler House, Los Angeles; Fondazione Antonio Ratti, Como, Italy; Galerie Nagel Draxler, Berlin; Carpenter Center for Visual Arts, Harvard University, Cambridge, MA; and Prefix Institute for Contemporary Art, Toronto. She has also been involved in many group exhibitions:
732:, Green created an immersive environment in which through drawings, sound, banners and films, ideas of islands, physical or mental, are explored. In a film bearing the same title as the exhibition, fictional characters write to each other reflecting on a different range of subjects, among these historical figures like
776:(1887–1953). This exhibition was composed of ten years' worth of old and new artworks by Green that trace the movement of multiple bodies through time and space. An exhibition statement describes the various installations as a "circulatory experience," where all facets—material and immaterial—combine to "perform" the
499:(1989). This artwork, one of the first in which Green combined texts and images, attempted to evoke the position of early nineteenth-century audiences vis-a-vis bodies put on display. Green enlarged an engraving of Sarah Baartman's body to life-size and overlaid it with wooden slats stamped with Sir
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and a peepbox containing a reproduction of an early nineteenth-century French print showing
European viewers ogling the "Hottentot Venus." The klieg light simultaneously provides the light for this print and spotlights the viewer peeking into the box, highlighting their complicity in such degrading
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A lot of the materials collected for her projects come from the immense repository already in existence in our culture, but her work can not be considered as a mere assemblage of cultural artifacts, nor an appropriationist practice. In each of her projects, Green produces works of art in different
856:. During her tenure as Dean she directed Spheres of Interest, the Graduate Lecture Series. Since 2000, she has been a guest faculty at the Maumaus School of Visual Arts in Lisbon. She is currently a professor at the Art, Culture and Technology (ACT) Program, School of Architecture and Planning,
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Green explains in her own words the impetus behind this activity of collecting and exhibiting different data and materials: "I wanted to begin by examining an artifact, a text, a painting or a group of paintings, a decorative object, an image, a novel, a poem, a garden, a palace, a house. By
503:'s description of measuring the buttocks of a "Hottentot" woman. Green highlighted the simultaneously "objective" and "subjective" character of this text by signaling each element with distinct typefaces, either capitalized Times Roman or cursive script. The artwork also involved a
103:(born October 25, 1959) is an American artist, writer, and filmmaker. Her pluralistic practice spans a broad range of media including sculpture, architecture, photography, prints, video, film, websites, and sound, which normally converge in highly layered and complex
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beginning with these objects or places, and the contexts in which they appeared, it was possible to detect the intricate working of certain ideologies which were being put forth and to attempt to decipher the contradictory pleasure which might accompany them."
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marked with two footprints and placed in front of a wall-mounted, ladder-like construction whose slats are stamped with two texts describing Sarah
Baartman. These texts, one describing Baartman's performance as the Hottentot Venus, and the other written by
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As a result of the complex web of relations and conceptual links among the materials and projects, these normally take place during a duration of time, and in different locations, in which the same theme is presented in different formats. For example,
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of
Baartman, are interspersed and thus interrupt and disrupt one another. Cuvier's text provides the title for the work: though he aligned Baartman with animals, he also noted "her charming hand." The soapbox and slatted structure are flanked by a
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exhibition in a 2016 exhibition at the Nagel
Draxler Galerie. Nagel Draxler writes, "Combining aspects of continuity and rupture, the installation served as a relatively immediate illustration of what Green—borrowing a term from literary theorist
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mediums like photography , prints , films , and sound , which are integrated in highly designed installations or environments. Due to the selective accumulation of materials Green's work has been labeled in some instances as archival.
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718:(a continual source of fascination for the artist). Cryptic passages such as "it is their violence" and "land, allow me to stand" are read under the breath. The hushed tone leaves one with the sensation of rudely
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Due to the density and formal complexity of her different projects, Green uses the standard catalogue published alongside her exhibitions, as a part of her work. These books function in a variety of levels: as an
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describes this fifty-minute, single-channel sound installation, "In a soft and scarcely audible voice, Green gently whispers a series of discontinuous excerpts from the work of the U.S. poet and activist
571:. The work explored "the process of information gathering and the international, national and local transfer of cultural products (specifically hip-hop music, various material produced as a result of the
473:, a South African woman exhibited as a sideshow in London and then Paris in the early Nineteenth Century, and who was thought at the time to be of the "Hottentot" tribe. Three of these artworks,
813:—has called the "contact zone," referring to the encounter staged in her practice between disparate people, cultures, and events. In the contact zone, discrete genealogies become entwined."
107:. She works to draw on cultural anthropology as well as social history, making her works well-researched and many times involving collaborators. Some of the topics she has covered include
636:'s land art work Partially Buried Woodshed (1970) functions as the starting point in Green's examination of student's protest movements in the United States, which focuses in the
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Green has also written extensively, and her work has been published in different publications from United States and Europe. Among the publications are
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Green reflected on the historical display of black women's bodies in a number of her early artworks, above all the display of the "Hottentot Venus":
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Independent Study
Program (ISP) since 1991, and became the Director of the Studio Program in 1996–1997. From 1997 to 2002 she was Professor at the
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1133:. Cornelia Lauf and Clive Phillpot, eds.; book designed as artist's book by Renée Green. New York: American Federation of the Arts, 1998.
266:, as a repository of documents, as transcripts of conversations and scripts of the films and videos produced for the different projects.
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Green's work adopts the form of complex and highly formalized installations in which ideas, historical events and narratives, as well as
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through which viewers could see an image of
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766:(2015). This exhibition took place at one of the MAK Center for Art and Architecture's site: the former Los Angeles home of
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796:(2015), a single channel forty-five-minute video montage interweaving images of the house with historic footage, oceanic
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Green, Renée. "Some
Conditions for Independent Study: The Whitney Program as a Thought Oasis or Weathered Bastion." In:
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Since her arrival at MIT in 2011, Green has had numerous solo exhibitions, including: Lumiar Cité, Lisbon;
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Working as an educator has been an important facet of Green's career. She has been guest faculty at the
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in Vienna. In 2003 she moved back to the United States to become
Distinguished Artist Professor at the
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Singer, Debra S. (2010). "Reclaiming Venus: The
Presence of Sarah Bartmann in Contemporary Art". In
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Singer, Debra S. (2010). "Reclaiming Venus: The
Presence of Sarah Bartmann in Contemporary Art". In
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612:.She juxtaposes traditional scenes seen on toile and depictions of violence against Haitian slaves.
387:(2009) represents 20 years of Green's work, and was organized by the Musée Cantonal des Beaux-Arts,
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Green has also submitted many published essays and fictions in magazines and journals, including:
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819:(2018). Green exhibited Begin Again, Begin Again at New York's FRIEZE exhibit in 2018.
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Alberro, Alexander. "The Fragment and The Flow: Sampling The Work of Renée Green," in
852:. From 2005 to June 30, 2011, Green was Professor and Dean of Graduate Studies at the
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684:(2002). The film explores the idea of imaginary places, as well as the history of
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Green, Renée. "No Guru, no Method, no Master: Zur Methode und Zukunft der Lehre"
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In 1992, Green collaborated with the Fabric Workshop in Philadelphia to create
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in New York. Green also attended the Radcliffe Publishing Procedures Course at
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Green, Renée. Introduction: "Negotiations in the Contact Zone" Symposium. In:
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sites. Renée Green later displayed twenty-eight small fabric banners from the
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Indeed, Renée Green's video works tend to be more formally subtle. Her video,
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575:… other forms of cultural commerce)." Green positioned herself as an artist-
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in Berlin that Green once lived in and that occupies the former site of the
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1423:. School of Architecture and Planning Massachusetts Institute of Technology
1015:. School of Architecture and Planning Massachusetts Institute of Technology
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Green has assembled numerous books and writings over the years, including:
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In 1997 Green was chosen by the American Federation of the Arts to design
1499:. Ute Meta Bauer, ed. Vienna: Selene; Institut für Gegenwartskunst, 2001.
1380:. November 19, 2015: 4–6 – via EBSCOhost (accessed March 21, 2017).
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344:, and Museum of Contemporary Art, both in Los Angeles; Whitney Museum,
246:(2005–2006) takes the form of a permanent public work installed at the
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792:) that utters "begin again, begin again." The show's centerpiece is
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Subject to Display: Reframing Race in Contemporary Installation Art
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Subject to Display: Reframing Race in Contemporary Installation Art
932:"Renée Green | Take It or Leave It digital archive | Hammer Museum"
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1541:"Anonymous Was a Woman Announces 2021 Winners, Program Expansion"
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McNeely, Andrew (2015). "Renée Green: Begin Again, Begin Again".
997:. Middletown, CT: Wesleyan University; Wadsworth Atheneum, 1981.
600:(1992), an investigation of the role in which French cities like
142:, Cambridge, Massachusetts. In 1989 she was a participant in the
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784:(2015) features a baritone voice (that of the artist's brother,
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was created for an installation located in a garden setting in
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Standardized Octagonal Units for Imagined and Existing Systems
313:'s theory of relativity via an excavation of the history of a
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serve to further confuse the contexts of social translation.
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MIT School of Humanities, Arts, and Social Sciences faculty
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and related culture between New York City, Los Angeles and
1156:: 131–132 – via EBSCOhost (accessed March 21, 2017).
1117:, no. 3: 7; see also Foster, Hal. "An Archival Impulse,"
860:. Other teaching venues as guest professor have included
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1276:"Art since 1945: Renée Green, Sa Main Charmante (1989)"
329:(2016), follows from Green's long-standing interest in
1249:. Philadelphia, Pa.: Temple University Press. p.
1184:. Philadelphia, Pa.: Temple University Press. p.
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and Los Angeles, and exists also as Cd-Rom (1996); or
1050:. Renée Green, ed. Lisbon: Assírio & Alvim, 2003.
960:. Durham, NC: Duke Univ. Press. pp. title page.
626:, and documented her stay via photographs and video.
254:, and as a website, which can be accessed worldwide.
517:, 1989). The central features of this artwork are a
545:(1990). This artwork builds on several features of
466:A brief description of selected projects by Green.
111:, the African slave trade, and hip hop in Germany.
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27:American artist, writer, and filmmaker (born 1959)
980:Green, Renée. "Sites of Criticism: A Symposium,"
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1325:. Cambridge, Mass.: MIT Press. pp. 215–16.
333:and the broader Portuguese sphere of influence.
722:on someone secretly reciting journal entries."
1421:act—MIT program in art, culture and technology
1245:Black Venus, 2010: They Called Her "Hottentot"
1180:Black Venus, 2010: They Called Her "Hottentot"
1013:act—MIT program in art, culture and technology
895:award in 2021 alongside fellow female artists
658:(1999). An essay-film about Italian filmmaker
184:, frontman of the Brazilian heavy metal band
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1300:. Cambridge, Mass.: MIT Press. p. 215.
782:Begin Again, Begin Again (Circulatory Sound)
728:(2009). In this project commissioned by the
375:(2014), published by Duke University Press;
238:(1992), was presented as an installation in
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485:(1990) were shown together at Green's 1990
366:Institute of Contemporary Art, Philadelphia
1392:"ASSEMBLY at Frieze New York: Renée Green"
1131:Artist/Author: Contemporary Artist's Books
1113:Chris Gilbert. "Renée Green's Wavelinks,"
1037:. Barcelona: Fundación Antoni Tàpies, 2000
984:(New York), vol. 1, no. 2 (1992): p. 49-53
780:through "converging contrapuntal points."
644:'s student's massacre which took place in
563:(1992) is a subjective map of the flow of
405:Artist/Author: Contemporary Artists’ Books
271:Artist/Author: Contemporary Artist's Books
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1713:20th-century American women photographers
1708:21st-century American non-fiction writers
1703:20th-century American non-fiction writers
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1512:(Cologne), no. 53 (March 2004): 140–143.
1214:Other Planes of There: Selected Writings
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1148:Heddaya, Mostafa (2016). "RENÉE GREEN".
958:Other Planes of There: Selected Writings
618:(1994). Green inhabited an apartment at
373:Other Planes of There: Selected Writings
116:Other Planes of There: Selected Writings
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850:University of California, Santa Barbara
788:, a frontman for the heavy metal group
1576:Renée Green's Free Agent Media Website
1522:United States Artists Official Website
1450:. 2020 American Academy in Berlin Gmbh
995:No Title: The Collection of Sol LeWitt
169:. Green wrote the catalog entries for
1748:21st-century African-American artists
1738:20th-century African-American artists
1628:African-American contemporary artists
1497:Education, Information, Entertainment
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1216:. Durham, NC: Duke University Press.
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858:Massachusetts Institute of Technology
794:Begin Again, Begin Again I. 1887–1929
377:Endless Dreams and Time-Based Streams
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760:. Endless Dreams and Water Between.
696:was presented as an installation at
409:Certain Miscellanies: Some Documents
1743:21st-century African-American women
1733:20th-century African-American women
1728:21st-century American photographers
1718:20th-century American photographers
1693:21st-century American women writers
1688:20th-century American women writers
1643:American women installation artists
730:National Maritime Museum, Greenwich
354:Museum of Contemporary Art, Chicago
309:(2005), considers the centenary of
134:, with an intermediary year at the
1698:American women non-fiction writers
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224:Mise-en-Scene: Commemorative Toile
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1582:Fundació Antoni Tàpies, Barcelona
146:Independent Study Program (ISP).
1469:Smith, William (February 2018).
1417:"Cinematic Migrations Symposium"
1048:Negotiations in the Contact Zone
1035:Renée Green: Shadows and Signals
817:Begin Again, Begin Again (Years)
726:Endless Dreams and Water Between
650:Gwangju Democratization Movement
393:Negotiations in the Contact Zone
1683:21st-century American educators
1678:20th-century American educators
874:Hochschule für Angewandte Kunst
630:Partially Buried in Three Parts
381:Yerba Buena Center for the Arts
1638:African-American women artists
1448:The American Academy in Berlin
1321:González, Jennifer A. (2008).
1296:González, Jennifer A. (2008).
842:Whitney Museum of American Art
491:P.S. 1 Contemporary Art Center
338:Museum of Modern Art, New York
153:as her graduating thesis from
151:Discourse on Afro-American Art
144:Whitney Museum of American Art
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1633:American contemporary artists
1608:American installation artists
846:Akademie der bildenden Künste
413:After the Ten Thousand Things
1648:American women video artists
1471:"In the Studio: Renee Green"
823:Cinematic Migrations Project
315:high-rise apartment building
1613:American multimedia artists
854:San Francisco Art Institute
688:and garden architecture or
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1663:Wesleyan University alumni
1527:November 10, 2010, at the
1668:Harvard University alumni
1280:Allen Memorial Art Museum
891:Green was a recipient of
561:Import-Export Funk Office
236:Import/Export Funk Office
165:'s donated collection to
157:, a "textual analysis of
114:In 2014, Green published
1442:Gorrissen, Ellen Maria.
806:Begin Again, Begin Again
764:Begin Again, Begin Again
489:exhibition, held at the
379:(2010), produced in the
126:Early life and education
1477:. Penske Business Media
828:On September 24, 2019,
648:in 1981, also known as
493:'s Clocktower Gallery.
350:Studio Museum in Harlem
205:National Gallery of Art
1673:Artists from Cleveland
1653:American video artists
1623:American art educators
1095:. Harvard Magazine Inc
758:San Francisco Bay Area
668:(2002–2004). The film
656:Some Chance Operations
307:Climates and Paradoxes
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1212:Green, Renée (2014).
956:Green, Renée (2014).
893:Anonymous Was A Women
886:United States Artists
884:In 2010, Green won a
588:Diedrich Diederichsen
397:Between and Including
362:Museum Moderner Kunst
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136:School of Visual Arts
130:Green studied art at
120:Duke University Press
71:School of Visual Arts
1618:American art writers
1351:dok.uni-lueneburg.de
1068:. Hammer Museum 2020
870:Hochschule der Kunst
800:scenes, and various
638:Kent State shootings
610:Atlantic slave trade
323:Bund Neues Vaterland
260:exhibition catalogue
252:Downtown Los Angeles
872:in Berlin, and the
771:modernist architect
487:Anatomies of Escape
401:Shadows and Signals
155:Wesleyan University
132:Wesleyan University
85:Wesleyan University
1282:. Oberlin College.
993:Paoletti, John T.
624:Unité d'Habitation
213:cultural artifacts
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167:Wadsworth Atheneum
140:Harvard University
94:Art, film, writing
75:Harvard University
1332:978-0-262-07286-1
1307:978-0-262-07286-1
1260:978-1-4399-0204-2
1223:978-0-8223-5692-9
1195:978-1-4399-0204-2
911:, among others.
909:Judithe Hernández
811:Mary Louise Pratt
547:Sa Main Charmante
515:Her Charming Hand
511:Sa Main Charmante
479:Sa Main Charmante
385:Ongoing Becomings
383:, San Francisco;
358:Walker Art Center
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862:Yale University
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778:Schindler House
742:Frédéric Chopin
716:Muriel Rukeyser
634:Robert Smithson
592:Theodore Adorno
585:cultural critic
583:through German
581:Hip Hop culture
551:Josephine Baker
464:
440:Texte zur Kunst
360:, Minneapolis;
311:Albert Einstein
283:Texte zur Kunst
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180:Her brother is
175:Lawrence Weiner
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1598:1959 births
1378:CAA Reviews
1356:January 27,
734:George Sand
622:'s Firminy
536:klieg light
417:Camino Road
101:Renée Green
36:Renée Green
18:Renee Green
1592:Categories
1396:frieze.com
915:References
897:Coco Fusco
876:, Vienna.
756:, and the
694:Elsewhere?
692:. In 2003
670:Elsewhere?
666:Elsewhere?
539:displays.
531:dissection
528:postmortem
526:after his
448:Multitudes
428:Transition
421:World Tour
364:, Vienna;
348:, and the
346:New Museum
296:Multitudes
288:Transition
163:Sol LeWitt
159:criticisms
48:1959-10-25
941:March 26,
790:Sepultura
754:Manhattan
678:Documenta
497:Permitted
475:Permitted
186:Sepultura
67:Education
59:Cleveland
1550:June 26,
1525:Archived
1475:Art News
1401:July 27,
836:Educator
768:Viennese
750:Mallorca
698:Portikus
505:peephole
477:(1989),
462:Projects
456:Collapse
423:(1993).
415:(1994);
411:(1996);
403:(2000);
399:(2001);
395:(2003);
389:Lausanne
319:pacifist
300:Collapse
262:, as an
248:Caltrans
1347:"about"
1241:(ed.).
1176:(ed.).
1119:October
709:(2004)
690:follies
686:gardens
642:Kwangju
602:Clisson
569:Cologne
519:soapbox
432:October
278:October
240:Cologne
207:in 2022
201:Color I
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880:Awards
830:Pacing
676:, for
674:Kassel
616:Secret
606:Nantes
555:slaves
436:Frieze
331:Lisbon
298:, and
173:, and
798:tidal
646:Korea
118:with
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1483:2020
1456:2020
1429:2020
1403:2018
1358:2016
1327:ISBN
1302:ISBN
1255:ISBN
1218:ISBN
1190:ISBN
1101:2020
1074:2020
1021:2020
962:ISBN
943:2018
680:11,
604:and
543:Seen
483:Seen
444:Spex
192:Work
42:Born
1154:104
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