RENÉE GREEN

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Renée Green
Born 1959 in Cleveland, Ohio
Lives and works in New York City and San Francisco


SELECTED SOLO EXHIBITIONS
2011
Elizabeth Dee Gallery, New York, NY (forthcoming)

2010
Renée Green: Endless Dreams, Yerba Buena Center for the Arts, San Francisco, CA

2009
Musée Cantonal des Beaux-Arts, Lausanne (catalog)

2008
National Maritime Museum, London
Le rêve de l’artiste et du spectateur: Renée Green, Jeu de Paume, Paris (March) [Film series]

2007
United Space of Conditioned Becoming (1), Participant Inc., New York (February-April)
United Space of Conditioned Becoming (2), Galerie Christian Nagel, Berlin (March-April)

2006
Wavelinks, Neuberger Museum of Art, Purchase, NY (September-January 2007)
Unité d’habitation, Galerie Martine Aboucaya, Paris (June-July)

2005
Index (From Oblivion): Paradoxes and Climates, in Einstein Spaces, Berlin (September-October)
Index (From Oblivion), Galleria Emi Fontana, Milan (June-September)
Rela, Kunstraum Innsbruck, Innsbruck (March-May)
Sound Politics, Baltimore Museum of Art, Baltimore (April-May). With Mayo Thompson and Ultra-Red

2004
Elsewhere? Here, Galeria Filomena Soares, Lisbon (November-January)
Wavelinks, Contemporary Arts Center, Cincinnati (February-May)

2002
Phases + Versions, Portikus, Frankfurt (December-February)

2000
Shadows and Signals, Fundació Antoni Tàpies, Barcelona (January-March)
Other Planes of There, Pat Hearn Gallery, New York (March-April)
Platform: Ongoing Conversations and Work, The Swiss Institute, New York (November-January 2001)
Returns: Tracing Lusitania, Centro Cultural de Belem, Lisbon (December-February 2001)

1999
Between and Including, Vienna Secession, Vienna (February-April)
Making History: Renée Green and Sam Durant. Bard College, Center for Curatorial Studies (April)
Project Wall, Rosamund Felsen Gallery, Los Angeles (September)

1998
Some Chance Operations, Emi Fontana Gallery, Milan (May-July)

1997
The Digital Import/Export Funk Office, Kunstverein Kreis Gütersloh, Germany

1996
Certain Miscellanies, Stichting de Appel, Amsterdam (January-March)
Flow, FRI-ART Centre d'Art Contemporain Kunsthalle, Fribourg, Switzerland, (March- May) [website: http://www.jca-online.com/flow.html]
Partially Buried, Pat Hearn Gallery, New York (October-November)
Übertragen/Transfer, Galerie Christian Nagel, Cologne (November-December)
The Digital Import/Export Funk Office, Kunstraum, Universität Lüneburg (December-April 1997)

1995
miscellaneous, DAAD Gallery, Berlin
miscellaneous continued, Neuger/Riemschneider Gallery, Berlin (February-March)

1994
Taste Venue, Pat Hearn Gallery, New York
Quest, Emi Fontana Gallery, Milan

1993
World Tour, Museum of Contemporary Art, Los Angeles; travelling exhibition to Dallas Museum (November 1993 to January 1994)

1992
Import/Export Funk Office, Galerie Christian Nagel, Cologne

1991
VistaVision: Landscape of Desire, Pat Hearn Gallery, New York
Bequest, Worcester Art Museum, Worcester, MA

1990
Anatomies of Escape, Institute of Contemporary Art, The Clocktower Gallery, New York


SELECTED GROUP EXHIBITIONS, FESTIVALS & SCREENINGS
2008
Manifesta 7, The European Biennial of Contemporary Art, Fortezza, Italy
Cinema Remixed and Reloaded, Museum of Fine Art. Spelman College

2007
La parola nell'arte. Ricerche d'avanguardia nel '900. Dal Futurismo ad oggi attraverso le Collezioni del Mart, Museo di arte moderna e contemporanea di Trento e Rovereto.
Not Only Possible, But Also Necessary: Optimism in the Age of War, 10th International Istanbul Biennial.
Cinema Cavern, P.S.1 Contemporary Art Center, Long Island City, New York.
Unter dem Vesuv. Neapel im Film/Under Vesuvius: Naples in Film, Liechtenstein Museum,Vienna. [screening]
Elsewhere?, Galleria Emi Fontana, Milan.
Shooting Back, Thyssen-Bornemisza Art Contemporary, Vienna. [screening]

2006
10 ans d’acquisitions de dons et de legs, 1996-2006, Musée cantonal des Beaux-Arts,Lausanne
The Unhomely: Phantoms Scenes in Global Society, 2nd International Biennial of Contemporary Art of Seville. Sevilla, Spain

2005
Artist's Books, Revisited, Art Metropol, Canada; Printed Matter, New York
Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston
Transformer 1, Fluc im Exile, Vienna

2004
Renée Green: Wavelink,. Arsenal, Berlin [screening]
Social Capital, Whitney Museum of American Art Independent Study Program Exhibition. Art Gallery of the CUNY Graduate Center, New York
I-Peg: Image. Sound. Machine, Künstlerhaus Bethanien, Berlin
“Sound Forest Folly,” Lustwarande 04: Disorientation by Beauty, Tilburg
Mobilien/Movables, Galerie im Taxispalais, Innsbruck
Born to Be a Star, Kunstlerhaus Vienna
On the Wall: Contemporary Wallpaper, Museum of Art, Rhode Island School of Design, Providence
La fin du XVIIIe siècle et aujourd´hui, L´ancien Musée de peinture de Grenoble (organized by Magasin), Grenoble.

2003
What Lies Between: The Autobiographical Impulse in Film and Video, UCLA Hammer Museum, Los Angeles [screening]
Conceptualism in Musik, Kunst und Film, Akademie der Künste, Berlin
Strangers: The First ICP Triennial of Photography and Video, International Center of Photography, New York
Attack!: Kunst und Krieg in den Zeiten der Medien, Kunstahlle Wien, Vienna
Tuscia Electa, Arte Contemporanea nel Chianti, Torino

2002
Documenta XI, Kassel [commission]
Stories, Haus der Kunst, Munich
Global Complex, OK Centrum für Gegenwartkunst Oberösterreich, Linz
Museum unserer Wünsche/Museum of our Wishes, Museum Ludwig, Cologne
Sonic Process, Museu d’art contemporani/MACBA, Barcelona; Centre Georges Pompidou, Paris

2001
Take Two, The Ottawa Art Gallery, Canada (July-August)
Ausgeträumt..., Vienna Secession, Vienna
Love Supreme, La Criée, Centre d'Art Contemporain, Rennes, (March-May)
Berlin Biennale, Kunstwerke, Berlin (April-June)
Public Offerings, MOCA, Los Angeles (March-May)
Memorial Exhibition, Pat Hearn Gallery, New York (February)
One Planet, Bronx Museum of Art, New York (October-February 2002)

2000
Voilà!: le monde dans la tete, Musée de la Ville de Paris
Das Gedächtnies der Kunst/History and Memory, Historisches Museum and Schirn Kunsthalle, Frankfurt

1999
Ruins in Reverse, CEPA Gallery, Buffalo, NY (January-March)
The Comfort Zone, The Public Art Fund, New York (March)
Graf, Green, Kogler, Schlegel, Schmalix, Williams, Museum of Contemporary Art, Brno, Czech Republic (March)
Studio One, Clocktower Gallery, New York [screening] (March)
The Stockholm Syndrome, CD-ROM exhibition scripted and designed by Måns Wrange, Igor Isaksson, Ilkka Isaksson, in partnership with Stockholm-Cultural Capital of Europe 1998
Architecture of Resistance, International Center for Urban Ecology, Detroit (August) [screening]
Persuasion, Lombard/Freid Fine Arts, New York (Summer)
Pat Hearn Gallery Summer Show, New York
Elsewhere 3, Glassbox, Paris (September) [screening]
Harn Museum of Art, Gainesville, Florida. (November) [screening]
Art-Worlds in Dialogue, Museum Ludwig, Cologne (November-January)

1998
The Cultured Tourist, Leslie Tonkonow Artworks & Projects, New York (November-December)
Anticipation, Version 4, Centre pour l'image contemporaine, Geneva (November-December)
Sharawadgi, Felsenvilla, Baden (October-December)
All Over the Map, L.A. Freewaves 6th Celebration of Independent Video & New Media, Los Angeles, (September 8-October 4)
44th International Short Film Festival, Oberhausen (April 23-28) [screening]
The Style Engine, Pitti Immagine, Florence. (January-February)
Graf, Green, Kogler, Schlegel, Schmalix, Williams,. Kunsthalle Krems, Krems, Austria (March-April)
Artist/Author: Contemporary Artist's Books, Museum of Contemporary Art, Chicago [travelling exhibition]
Performance Anxiety, La Jolla Museum, CA and Site Sante Fe, New Mexico
Changing Spaces, The Power Plant, Toronto, Vancouver Art Gallery, Vancouver

1997
Robert Flaherty Film Seminar, Ithaca, NY
Performance Anxiety, Museum of Contemporary Art, Chicago (April-July)
Letter & Event, Apex Art, C.P., New York (April-May)
Critical Images: Conceptual Works from the 1960s to the present, Leslie Tonkonow Artworks & Projects, New York (April-May)
Home Sweet Home: Einrichtungen/Interieurs, Deichtorhallen Hamburg, Germany (June-September)
Changing Spaces: Projects from the Fabric Workshop and Museum, Philadelphia; City Gallery at Chastain, Atlanta [traveling exhibition]
Partially Buried (in Three Parts), Kwangju Biennale, Korea. (September-October)
Tracing Lusitania: Excerpts from an Imagined Prototype, Johannesburg Biennale, South Africa (October-November)
Translocations, Organized by Displaced Data, London and IRADAC (The Institute for Research on the African Diaspora in the Americas and the Caribbean), City University of New York, New York
Résonances, ANGI-Galerie ART’O, Paris (June-July)

1996
Now/Here, Louisiana Museum of Art, Copenhagen
Nach Weimar, Neues Museum, Weimar
Embedded Metaphor, 1996-1999. [A traveling exhibition organized by Independent Curators International/Nina Felshin [ICI], New York, John and Mable Ringling Museum, Sarasota, FL; Western Gallery, Western Washington U., Bellingham, WA; Bowdoin College Museum of Art, Brunswick, ME; Virginia Beach Center for the Arts, Virginia Beach, VA; Ezra and Cecile Zilkha Gallery, Wesleyan U., Middletown, CT; Pittsburgh Center for the Arts, Pittsburgh, PA.]
A/Drift, Bard College, New York
Handmade Readymades, Bertha and Karl Leubsdorf Gallery, Hunter College, New York

1995
Mirage, Institute of Contemporary Art, London
Architectures of Display, Architectural League of New York and Minetta Brook, New York
Das Ende der AvantGarde: Kunst als Dienstleistung, Kunsthalle der Hypo-Kulturstiftung, Munich
It's Not A Picture, Gallerie Emi Fontana, Milan
Video: l'immagine e l'ogetto. Artisti degli Stati Uniti/Video: The Image and the Object. Artist from the U.S., Museo Laboratorio de Arte Contemporanea, Rome
Wallpaper Works, Contemporary Arts Museum, Houston

1994
Installation: Selections from the Permanent Collection, Museum of Contemporary Art, Los Angeles
Don't Look Now, The Thread-Waxing Space, New York
Services, Universitat Lüneberg, Germany
Sogetto Sogetto, Castelo di Rivoli, Rivoli, Italy
The Seventh Museum, Stroom, The Hague, Holland
The Ideal Place, HCAK, The Hague
The Body as Measure, Davis Art Museum, Wellesley College, MA
Temporary Translations, Deichtorhallen, Hamburg
Cocido y crudo/The Cooked and the Raw, Museo Nacional Centro de Arte Reina Sofía, Madrid
Sommerakademie München: eine freie Akademie auf Zeit, Kunstverein München
Kontext Kunst/Context Art, Neue Galerie am Landesmuseum Joanneum, Graz
Mapping, American Fine Arts, New York

1993
Whitney Museum of American Art Biennial, New York
Venice Biennale, Aperto.
Project Unité, Firminy, France
Just What is it That Makes Today's Homes So Different, So Appealing?, Gallerie Jennifer Flay, Paris
Fontanelle: Kunst in (x) Zwischenfallen, Potsdam, Germany
On Taking a Normal Situation..., Museum van Hedendaagse Kunst, Antwerpen (MUHKA), Antwerp
What Happened to the Institutional Critique?, American Fine Arts, New York
Peccato di Novita, Galerie Emi Fontana, Milan
Die Arena des Privaten, Kunstverein München
Theater of Refusal: Black Art and Mainstream Criticism, Fine Arts Gallery, University of California, Irvine

1992
True Stories, Institute of Contemporary Art, London
Dirty Data: Sammlung Schurmann 1992, Ludwig Forum for International Art, Aachen
Multiple Cultures, Convent of San Egidio, Rome
Inheritance, LACE, Los Angeles
Wohnzimmer/Buro, Galerie Christian Nagel, Cologne
Mary Kelly, Renée Green, Herbert F. Johnson Museum of Art, Cornell University, Ithica, New York
Speak, Randolph Street Gallery, Chicago
Huitiemes Ateliers Internationaux Pays de Loire, F.R.A.C., Clisson, France
Transgressions in the White Cube: Territorial Mappings, Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, Vermont
Travel Documents, San Francisco Cameraworks
Informationsdienst, Kubinski Galerie, Cologne
More Books as Art, Hecksher Museum, Huntington, NY

1991
Lost Illusions: Recent Landscape Art, Vancouver Art Gallery, Canada
Arte joven en Nueva York, Sala Mendoza, Caracas, Venezuela
Natural History, Barbara Farber Gallery, Amsterdam
New Generations: New York, Carnegie Mellon Art Gallery, Pittsberg
SiteSeeing: Travel & Tourism in Contemporary Art, Whitney Museum of American Art, New York
Color Theory, Amelie A. Wallace Gallery, SUNY at Old Westbury, NY

1990
Out of Site, P.S.1 Museum/Institute of Contemporary Art, Long Island City, New York
The Construction of Knowledge, Diane Brown Gallery, New York, Nicole Klagsbrun Gallery, New York
Social Studies: 4 + 4 Young Americans, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio
Selections: Aljira & Artists Space, Artists Space, New York
Expense Account: Figuring the Damage, University of Rochester, Rochester, New York

1989
From the Studio: Artists in Residence,1988-1989, The Studio Museum in Harlem, New York


BOOKS
Negotiations in the Contact Zone/Negociaçôes na zona de contacto. Renée Green, editor. Lisboa: Assirio & Alvim, 2003.
Between and Including. Vienna: Secession; Cologne: Dumont, 2001.
Shadows and Signals/Sombras y señales. Barcelona: Fundació Antoni Tàpies, 2000.
Certain Miscellanies: Some Documents. Amsterdam: De Apple Foundation; Berlin: DAAD, 1996.
The Digital Import/Export Funk Office. Lüneburg: Kunstraum, University of Lüneburg, 1996. [cdrom]
After the Ten Thousand Things/Na de tien duizend dingen. The Hague: Stroom, 1994.
Camino Road. Madrid: Museo Nacional Centro de Arte Reina Sofía; New York: Free Agent Media, 1994.
World Tour. Los Angeles: Museum of Contemporary Art, 1993.


SELECTED PUBLICATIONS BY THE ARTIST
2007
“Bonvenon! (Kurfustenstrasse 123 #13 Green, Berlin, 10787).” October (New York), no. 119 (Winter 2007): vi-vii. [Reproduction of Green’s contribution to October Portfolio #3].

2006
“Place.” In: Sarai Reader 06. Turbulence. New Delhi: The Sarai Programme; CSDS, 2006.
“Relay.” In: The Sociological View. Innsbruck: Kunstraum Innsbruck, 2006.
“Beyond.” In: Institutional Critique and After. Zürich: JRP|Ringier Kunstverlag, 2006.
“States of Exception.” In: MFA Graduate Exhibition Catalogue 2006. San Francisco: San Francisco Art Institute, 2006.
“Free Agent Media Celebrates Year 12.” In: Lab Mag (New York), no. 1 (Color Lulu Version): 108-109. Adam Pendleton’s Magazine Project. It also appears in black and white in B/W Lulu Version.
“Free Agent Media Celebrates Year 12 @ Memphis.” In: Memphis (Vienna), no. 12 (December 2006): 32-33.

2005
“Index (Aus dem Vergessen): Paradoxe und Klimata.” In: Einstein Spaces. Yvonne Leonard, ed. Berlin: Einstein Forum, 2005.

2004
“Other Planes of There,” Yard (Los Angeles), vol. 1, no. 1 (Fall 2004): 54-61.
“No Guru, no Method, no Master: zur Methode und Zukunft der Lehre“ Texte zur Kunst (Cologne), no. 53 (March 2004): 140-143.
“Kunstlerische Praxis als Dispositive: Katharina Schlieben und Sonke Gau im Gespäch mit Renée Green” ITH: das Magazine des Instituts fürTheorrie des Gestaltung und Kunst (Zurich), no. 31 (June 2004): 61-69.

2003
Negotiations in the Contact Zone/Negociaçôes na zona de contacto. Renée Green, editor. Lisboa: Assirio & Alvim, 2003. [Texts by Karïm Aïnouz, Diana Andringa, Judith Barry, James Clifford, Manthia Diawara, Diedrich Diedrichsen, Renée Green, Miwon Kwon, Sowon Kwon, Simon Leung, Lynne Tillman and Joe Wood]
“Introduction: ‘Negotiations in the Contact Zone’ Symposium.” In: Negotiations in the
Contact Zone/Negociaçôes na zona de contacto. Renée Green, editor. Lisboa: Assirio & Alvim, 2003.
“Conversation between Diana Andringa and Renée Green. Lisbon, September 1992, at RTP.” In: Negotiations in the Contact Zone/Negociaçôes na zona de contacto. Renée Green, editor. Lisboa: Assirio & Alvim, 2003.

2002
“Obsolescence = Mutation Unrealized?,” October (New York), no. 100 (Spring 2002): 76-77.
“Slippages.” In: Radiotemporaire. Grenoble: Magasin, 2002.
“Survival: Ruminations on Archival Lacunae. Adaptations, Re-readings, and New Readings.Introduction to the Following Accretive Process.” In: Interarchive: Archival Practices and Sites in the Contemporary Art Field. Beatrice von Bismarck et al., ed. Lüneburg: Kunstraum der Universität Lüneburg; Cologne: Walther König, 2002. [An edited excerpt is published at: The Archive. Edited by Charles Merewether. London: Whitechapel Gallery; Cambridge, MA: MIT Press, 2006]
“Introductory Notes of a Reader and ‘A Contemporary Moment.” In: From Work to Text: Dialogues on Practise and Criticism in Contemporary Art. Jürgen Bock, ed. Lisbon: Centro Cultural de Belém, 2002.
“Returns: Tracing Lusitatia. Questions from Elvan Zabunyan which Stimulated Responses from Renée Green.” In: From Work to Text: Dialogues on Practise and Criticism in Contemporary Art. Jürgen Bock, ed. Lisbon: Centro Cultural de Belém, 2002.
“Raum für Notizen: ein Tagebuch zur Documenta 11,” Texte zur Kunst (Cologne), no. 47 (September 2002): 70-77 [French version: “Notes sur la Documenta 11,” Practiques (Rennes), no. 13 (Autumn 2002): 76-81.]

2001
Between and Including. Vienna: Secession; Cologne: Dumont, 2001.
“Nachwort/Brief: [Situationist Text].” In: Situationistinnen und andere... Berlin: b_books, 2001. Eng, Michael and Renée Green. “No Easy Places: At this Moment in Vienna...,” Public Culture (Chicago), vol. 13, no. 1 (Winter 2001): 139-153
“Un moment contemporain: penser les recontres artistiques,” multitudes (Paris), no. 4 (March 2001): 65-73.
“Some Conditions for Independent Study: The Whitney Program as a Thought Oasis or Weathered Bastion.” In: Education, Information, Entertaiment. Ute Meta Bauer, ed. Vienna: Selene; Institut für Gegenwartskunst, 2001.

2000
“Scenes from a Group Show: Project Unité.” In: Site-Specificity: The Ethnographic Turn. Alex Coles, ed. London: Black Dog, 2000. (de-, dis-, ex-.; 4)
“Marode moderne,” Texte zur Kunst (Cologne), no. 39 (September 2000): 148-153 [German version of “Notes on Humanist and Ecological Republic and Lac Mantasoa: Florian Pumhösl, Vienna Secession.”]
Shadows and Signals/Sombras y señales. Barcelona: Fundació Antoni Tàpies, 2000.

1999
“Zwischen Zeiten und Orten,” Springerin (Vienna), no. 1 (1999).
“In is Out, Out is In, Get It?: Glamorama,” Spex (Cologne), (1999). [book review]

1998
“Compared to What?: Blues Legacies and Black Feminism by Angela Davis,” Spex (Cologne), (November 1998).
“Affection Afflictions: My Alien, My Self/More Reading at Work.” In: Loving the Alien: Science Fiction, Diaspora and Multikultur. Diedrich Diedrichsen, ed. Berlin: ID Archiv, 1998. [edited English version in Everything But The Burden. Greg Tate, ed. New York: Broadway Books, 2003.]
“Site-Specificity Unbound: Considering Participatory Mobility,” Springerin (Vienna), (March-April 1998).
Artist/Author: Contemporary Artist's Books. Cornelia Lauf and Clive Philpot, eds.; book designed as artist's book by Renée Green. New York: American Federation of the Arts, 1998.
“Perplexed.” In: Artist/Author: Contemporary Artist's Books. Cornelia Lauf and Clive Philpot, eds.; book designed as artist's book by Renée Green. New York: American Federation of the Arts, 1998.

1997
“Partially Buried,” October (New York), no. 80 (Spring 1997): 39-56.
“Partially Buried.” In: Performance Anxiety CD, Chicago: Museum of Contemporary Art, 1997. [sound recording, cd track]
“Der Künstler als Ethnograph?,” Texte zur Kunst (Cologne), no. 27 (September 1997): 152-161.

1996
“Spike Lee's Mix: Calculated Risks and Assorted Reckonings,” Spex (Cologne), 1996.
“Beobachtungen einer Benutzerin,” Texte zur Kunst (Cologne), no. 24 (September 1996): 152. [German version of “Notes from a User: L'informe”]
Certain Miscellanies: Some Documents. Amsterdam: De Apple Foundation; Berlin: DAAD, 1996.
Flow [http://www.jca-online.com/flow.html] Web site made for White Room Productions, NYC and Fri-Art, Fribourg
The Fact of Blackness. Alan Read, ed. London: Institute of Contemporary Art; Seattle: Bay Press, 1996.
“Collecting Well is the Best Revenge: Commemorative Toile Fabric, 1995.” In: Stud. Joel Sanders, ed. Princeton: Princeton Architectural Press, 1996. [augmented version published in Certain Miscellanies: Some Documents. Amsterdam: De Apple Foundation; Berlin: DAAD, 1996.]
“Import/Export Funk Office: Another Work in Progress.” In: Games, Fights, Collaborations: Das Spiel von Grenze und Überschreitung. Beatrice von Bismarck, Diethelm Stoller and Ulf Wuggenig, ed. Lüneburg: Kunstraum, University of Lüneburg; Ostfildern: Cantz, 1996. [German version in the same book: “Import/Export Funk Office: Noch ein ‘Work-in-progress’”: 57-60.]
The Digital Import/Export Funk Office. Lüneburg: Kunstraum, University of Lüneburg, 1996. [cdrom]

1995
“Questions of Feminism: 25 Responses,” October (New York), no. 71 (Winter 1995).
Page Project, Blocnotes (Paris), no. 8 (Winter 1995): 26-27.
“Dropping Science: Art and Technology Revisited,” Flash Art (Milano), (November 1995). [German version: “Dropping Science: Art and Technology Revisited 2.01.” In: Telenoia: Kritik der virtuellen Bilder. Elisabeth von Samsonow and Éric Alliez, ed. Vienna: Turia + Kant, 1999.]

1994
“On Site Specificity: A Discussion with Hal Foster, Renée Green, Mitchell Kane, Miwon Kwon, John Lindell, Helen Molesworth,” Documents (New York), no. 4-5 (1994).
“Konversationen.” In: Yo! Hermeneutics. Diedrich Diedrichsen, ed. Berlin: ID-Archiv, 1993. [conversation with Diedrich Diedrichsen]
“Eighteen Aphoristic Statements,” Vor den Information (Vienna), no. 1-2 (1994): 2-4.
“Collectors, Creators, Shoppers,” Frieze, no. 18 (Fall 1994).
Page Project, Metropolis M (Amsterdam), (October 1994).
After the Ten Thousand Things/Na de tien duizend dingen. The Hague: Stroom, 1994.
Camino Road. Madrid: Museo Nacional Centro de Arte Reina Sofía; New York: Free Agent Media, 1994.

1993
World Tour. Los Angeles: Museum of Contemporary Art, 1993.
“Inventory of Clues.” In: On Taking a Normal Situation... Antwerp: Museum van Hedendaagse Kunst Antwerpen (MUHKA), 1993.
“The Beat Goes On,” Vienna: Hochschule für angewandte Kunst, 1993. [lecture]

1992
Artist pages. In: Der offentliche Blick. Kasper König and Hans-Ulrich Obrist, eds. Munich:
Silke Schreiber, 1991: 201-208. (Jahresring; 38)
“Open Letter No. 1: On Influence,” Texte zur Kunst (Cologne), no. 7 (Fall 1992): 187-189.
“Black Popular Culture?,” Texte zur Kunst (Cologne), no. 5 (Winter 1992): 187-189. [English edition: “Black Popular Culture,” Art and Text (Paddington), no. 42 (May 1992): 94-95.]
“Sites of Criticism Symposium: Practices,” ACME Journal (New York), vol. 1, no. 2 (1992): 37-67 Project, Frieze (London), (1992).

1991
“Democracy in Question,” Transition (New York), no. 53 (1991): 163-167
“Trading on the Margin,” Transition (New York), no. 52 (1991): 124-132 [german version: “Out There: Marginalization and Contemporary Culture,” Texte zur Kunst (Cologne), no. 3 (Summer 1991): 173-179; french version: “Négocier la marge,” Practiques (Rennes), no. 13 (Autumn 2002): 82-90.]
“Kalterschwieb/ Cold Sweat,” Texte zur Kunst (Cologne), no. 4 (Fall 1991).

1990
“I Won't Play Other to Your Same,” Meaning (New York), no. 7 (May 1990): 15-16. Also published at Meaning: An Anthology of Artists’ Writings, Theory, and Criticism. Ed. by Susan Bee & Mira Schor. Durham: Duke Univeristy Press, 2000: 220-222 [German version: “I Won’t Play Other to Your Same,” Texte zur Kunst (Cologne), no. 3 (Summer 1991): 76-79.]
“What's Painting Got To Do With It?: Art in the Age of Post-Mechanical Production,” Post-Boys and Girls: Nine Painters. New York: Artists Space, 1990.

1981
No Title: The Collection of Sol LeWitt. John Paoletti, ed. Hartford, Connecticut: Wesleyan University /Wadsworth Atheneum, 1981.


SELECTED BIBLIOGRAPHY
“A Fashion Gallery,” New York Times Magazine (New York), (September 18 1994).
Alberro, Alex. “The Fragment and the Flow: Sampling the Work of Renée Green.” In: Shadows and Signals/Sombras y señales. Barcelona: Fundació Antoni Tàpies, 2000.
Allen, Jennifer. “Renée Green: Galerie Christian Nagel,” Artforum International (New York), vol. 45, no. 9 (May 2007): 384.
Alter, Nora. “Akustische Dimensionen: Sound in Skulptur und Film.” In: Die Bildende: die Zeitung der Akademie (Vienna), no. 1 (November 2006): 14-18.
Alter, Nora. “Beyond the Frame: Renée Green’s Video Practice.” In: Shadows and Signals/Sombras y señales. Barcelona: Fundació Antoni Tàpies, 2000.
Apter, Emily. Continental Drift: From National Characters to Virtual Subjects. Chicago: University of Chicago Press, 1999. [cover designed by Renée Green]
Avgikos, Jan. “Renée Green: Pat Hearn Gallery,” Artforum international (New York), (Summer 1992).
Baker, George. “Renée Green: Pat Hearn Gallery,” Artforum international (New York), vol. 36, no. 6 (February 1997): 89-90.
Becker, Jochen. “Renée Green: Between and Including,” Kunstforum International (Mainz), no. 145 (May-June 1999).
Bell, Kirsty. “Landschaften = Landscapes,” In: Turbulenz. Portikus Projekte 2001-2004. Frankfurt: Portikus, 2004.
Berger, Doris. “Doris Berger spricht mit Renée Green.” In: Künstlerbücher/Artist’s Books.
Gabriele Koller and Martin Zeiller, ed. Vienna: Universität für angewandte Kunst, 2001: 38-51.
Berger, Doris. “Renée Green in der Wiener Secession,” Kunstbulletin, (April 1999).
Bhabha, Homi. The Location of Culture. New York: Routledge, 1994.
Bishop, Kathy. “Fanfare,” Vanity Fair (New York), (June 1990).
Bock, Jürgen. “The Beauty of Discourse, or How to Stand Pyramids on Their Heads: A Fictitious Conversation Between Jürgen Bock and Joaquim Beck on the Renée Green exhibition Relay at the Kunstraum Innsbruck.” In: The Sociological View. Innsbruck: Kunstraum Innsbruck, 2006. [English and German version]
Brenson, Michael. “Renée Green: Anatomies of Escape,” The New York Times, (New York), (May 25 1990).
Brenson, Michael. “Show at the Studio Museum of it’s Artists in Residence,” The New York Times, (New York), (December 15 1989).
Brown, Elizabeth, Social Studies: 4 + 4 Young Americans. Oberlin, Oberlin College, Allen Memorial Art Museum, 1990. (Art Museum Bulletin; vol. 44, no. 1) [catalogue]
Bruno, Giuliana. “Anatomy of an Analysis: The Authorial Noir...” In: Between and Including. Vienna: Secession; Cologne: Dumont, 2001.
Buhr, Elke. “Träume mit System,” Frankfurter Rundschau (Frankfurt), (14 December 2002).
Butler, Cornelia. “A Lurid Presence: Smithson’s Legacy and Post-Studio Art,” In: Robert Smithson. Los Angeles: Museum of Contemporary Art, 2004.
Carr, Cynthia. “Only Connect: Renée Green Sparks the New Global Conversation,” Village Voice (New York), (January 16 2001).
Cameron, Dan. “Critical Edge,” Arts, (January 1992).
Casadio, Mariuccia. “Giovani in transito,” Casa Vogue (Paris), (September 1994).
“Changing Spaces: Artists' Projects from the Fabric Workshop, Philadelphia,” Toronto Life (Toronto), (August 1998).
Chen, Howie. “Instrumental Spaces.” In: Social Capital: Forms of Interaction. New York: Whitney Museum of American Art, Independent Study Program Exhibition, 2004.
Conrad, Martin. Zitty (Berlin), (February 1995).
Corey, Molly. What Lies Between: The Autobiographical Impulse in Film and Video. Los Angeles: UCLA Hammer Museum, 2003.
Cummings, Neil. “Curating the Contemporary Art Museum,” Art & Design (London), vol. 12, no. 1-2 (January-February 1997).
D'Arcy, David. “The Art Frontier,” Vanity Fair (New York), no. 462 (Februrary 1999): 100-102.
Dailey, Meghan. “Preview. Renée Green: Between and Including,” Artforum international (New York), vol. 37, no. 5 (January 1999): 63.
Dalton, Elizabeth and Cynthia Smith. Expense/Account: Figuring the Damage. New York: Hartnett Gallery, University of Rochester, 1990. [catalogue]
Decter, Joshua. “Renée Green: Pat Hearn Gallery,” Artforum international (New York), vol. 33, no. 1 (September 1994): 105-106.
Decter, Joshua. “Renée Green: Remapping Narratives of History and Identity,” Forum International (Antwerpen), (January-February 1993).
Denson, Roger G. “A Genealogy of Desire: Renée Green Explores the Continent of Power,” Flash Art (Milan), no. 160 (October 1991): 125-127.
Diaz, Eva. “Renée Green: Participant Inc.,” Modern Painters (New York), (May 2007): 96.
Diedrichsen, Diedrich. “Konversationen.” In: Yo! Hermeneutics. Diedrich Diedrichsen, ed. Berlin: ID-Archiv, 1993. [conversation with Diedrich Diedrichsen]
Diedrichsen, Diedrich. "The Politics of Tourism: Renée Green, Bernward Vesper, Hubert Fichte,"In: Tour-Isms: The Defeat of Dissent. Critical itineraries. Barcelona: Fundació Antoni Tàpies, 2005.
Drissen, Chris. “Sound Forest Folly.” In: Lustwarande 04: Disorientation by Beauty. Tilburg: Fundament Foundation, 2004.
Eng, Michael. “Exhange between Michael Eng and Renée Green.” In: Between and Including. Vienna: Secession; Cologne: Dumont, 2001: 177-199.
Eng, Michael and Renée Green. “No Easy Places: At this Moment in Vienna...,” Public Culture (Chicago), vol. 13, no. 1 (Winter 2001): 139-153.
Farrelly, Liz. “When the Client is an Artist,” Print (New Haven), vol. 52, no. 2 (March-April 1998).
“Fast Forward,” Canadian Art (Toronto), (Summer 1998): 16.
Foster, Hal. Return of the Real. Cambridge, Mass.: MIT Press, 1996.
Foster, Hal. “Convulsive Identity,” October (New York), no. 57 (Summer 1991): 18-54.
Fricke, Harold. Der Tagespigel (Berlin), (February 1995).
Das Gedächtnis der Kunst/History and Memory. Frankfurt: Historisches Museum and Schirn Kunsthalle, 2000. [book cover]
Gill, Brendan. “Manhattan's Arena for Aesthetic Melodrama,” Architectural Digest (Los Angeles), no. 47 (November 1990).
Graw, Isabelle. “Im Labyrinth der Alphabete,” Die Tageszeitung (Berlin), (March 24 1999).
Graw, Isabelle. “Enteignung aneignen: Renée Green.” In: Die bessere Hälfte: Künstlerinnen der 20. und 21. Jahrhunderts. Cologne: DuMont, 2003: 78-87.
Graw, Isabelle. “Renée Green Kontrollräume,” Artis (Bern), (February-March 1995).
Groos, Ulrike and Markus Müller. “Interview mit Renée Green: New York, Oktober 1997.” In:
Make it Funky: Crossover zwischen Musik, Pop, Avantgarde und Kunst. Cologne: Oktagon, 1998: 235-248. (Jahresring 45)
Harkavy, Donna. “Renée Green.” In: Bequest. Worcester: Worcester Art Museum, 1991. (Insights) [catalogue]
Hegenwisch, Katherina. After the Avant-Garde. Munich: Kunsthalle Hypo-Bank, 1995. [catalogue]
Hermes, Manfried. “Renée Green: German Oustation of Funk,” Flash Art (Milan), no. 166 (October 1992): 94.
Higa, Karin. SiteSeeing: Travel and Tourism in Contemporary Art. New York: Whitney Museum of Contemporary Art, 1991. [catalogue]
Höller, Christian. “Wavelinks: Resonance Levels of ‘Globalization’.” In: Global Complex. OK Centrum für Gegenwartkunst Oberösterreich, 2002.
Horst, Christoph. “Crossover,” Profil (Vienna), no. 9 (March 1999).
Jones, Lisa. “Venus Envy,” Village Voice (New York), (July 9 1991).
Kellerman, Kerstin. “Flowerpower buried,” an.schläge (Vienna), (April 1999).
Kempkes, Anke. “Der Ärger mit dem Narzißmus von Künstlerinnen. Renée Greens “She” auf Exkursion,” Texte zur Kunst (Cologne), no. 28 (November 1997): 95.
King, Elaine. New Generations: New York. Pittsburgh: Carnegie Mellon Art Galllery, 1991. [catalogue]
Kontova, Helena. “Robert Nickas: I’ve Always Preferred Artists to Works of Art,” Flash Art (Milan), vol. 24, no. 155 (January-February 1991): 165, 176.
Krause-Wahl, Antje. “Renée Green: Forscherin, (Ver)Mittlerin und Intellektuelle,” in Konstruktionen von Identität: Renée Green, Tracey Emin, Rirkrit Tiravanija. München: Silke Schreiber, 2006: 24-76.
Krumpl, Doris. “Im Labyrinth der kollektiven Erinnerung: US-Künstlerin Renée Green in der Wiener Secession: Between and Including,” Der Standard (Vienna) (February 9 1999).
Lemmon, Danielle B. “Moving Sight: The Artist as Beholder in the Art of Renée Green.” In: Responses to Michael Fried’s Theories of Theatricality in the Visual Arts: From Modern to Postmodern Criticism. Ann Arbor: UMI Dissertation Services, 1997: 163-203.
Leturque, Armelle. “Renée Green, Decoding Cultures,” Blocnotes (Paris), no. 12 (April-May 1996).
Leung, Simon. “Contemporary Returns to contemporary art: Renée Green, Silvia Kolbowski and Stephen Prina,” Art Journal (New York), vol.60, no.2 (Summer 2001): 54-71.
Levin, Kim. “Choices,” Village Voice (New York), (April 5 1994).
Levin, Kim. “Turning the Tables, and Choices,” Village Voice (New York), (June 19 1990).
Lippard, Lucy. On the Beaten Track. New York: The New Press, 1999.
Masterworks for Learning: A College Collection Catalogue. Oberlin: Oberlin College, Allen Memorial Art Museum, 1998. [cd-rom]
Matos, Sara. “Negociaçoes na zona da contacto,” Pangloss (Lisbon), no. 3 (July 2003): 29.
McFadden, Sarah. “Report from Cologne: Changing of the Guard,” Art in America (New York), vol. 83, no. 2 (February 1995): 50-57.
Mercer, Kobena. Mirage. London: Institute of Contemporary Art; Institute of International Visual Arts, 1995. [catalogue]
Mercer, Kobena and Joshua Decter. Inheritance. Los Angeles: LACE, 1992. [catalogue]
Meyer, Christian and Mathias Poledna. Sharawadgi. Cologne: Walther König, 1999.
Meyer, James. “Preview. Renée Green: Contemporary Arts Center,” Artforum international (New York), vol. 42, no. 5 (January 2004): 60.
Meyer, James. “Nomads,” Parkett (Zurich), no. 49 (Summer 1997): 205-209. [german version in the same issue, “Nomaden”: 210-214.]
Meyer, James. “Nostalgia and Memory: Legacies of the 1960s on Recent Work.” In: Painting,
Object, Film, Object: Works from the Herbig Collection. New York: Christie’s, 1998: 26-35.
Möntmann, Nina. “Kultureller Raum Topographie der Kulturen: Renée Green ‘Import/Export Funk Office,’ 1992-1994.” In: Kunst als sozialer Raum: Andrea Fraser, Martha Rosler, Rikrit Tiravanija, Renée Green. Cologne: Walther König, 2002: 133-156.
Morgan, Margaret. “From Dada to Mama: Feminism, the Ready-made and Contemporary Practice.” In: Binocular. Ewen McDonald and Juliana Engberg, eds. Sydney: Moët & Chandon, 1994.
Nathan, Jean. “Art: Renée Green,” Vibe (New York), (October 1994).
Nickas, Robert. Natural History. Amsterdam: Barbara Farber Gallery, 1991. [catalogue]
Nieswandt, Hans. “Green ist die Hoffnung,” Spex (Cologne), (August 1992).
“Obrazy stvárnujúce vyznamy,” Slovenská Republika (9 March 1999): 6
Obrist, Hans, Ulrich. “The Installation is Coming Through the Back Door,” Meta (Stuttgart), no. 1 (1992): 62-73.
Oleksijczuk, Denise. Lost Illusions: Recent Landscape Art. Vancouver Art Gallery, 1991. [catalogue]
Ottmann, Klaus. “Renée Green, Pat Hearn, New York.” C Magazine (Toronto), (February-May 2000). See also: Klaus Ottmann. Thought Through My Eyes: Writings on Art, 1977-2005. Putman, CT: Spring, 2006: 274-275.
Perucic, Nadia. “Navigating the Social Order: Alternative Currents in Relations of Power”. In: Social Capital: Forms of Interaction. New York: Whitney Museum of American Art, Independent Study Program Exhibition, 2004.
Ploebst, Helmut. “Sechs Tage Seinfeld,” Wiener Journal (Vienna), (March 1999).
“Preview. Exhibitions: Mirage,” The Guardian: The Guide (London), (May 12 1995).
Prinzhorn, Martin. “Dauerhaftes Provisorium,” Texte zur Kunst (Cologne), no. 34 (June 1999): 193.
Puvogel, Renate. “Frauen in New York: ein Blick Uber den Eigenen Tellerrand,” Artis (Bern), (February 1993).
Ramirez, Yasmin. “Renée Green at Pat Hearn,” Art in America (New York), vol. 79, no. 10 (October 1991): 148-149.
“Renée Green: Between and Including,” Portfolio (January 1999).
Riemschneider, Burkhard and Uta Grosenick. Art at the Turn of the Millennium. Cologne: Taschen, 1999.
Ruins in Reverse: Time & Progress in Contemporary Art. Grant H. Kester, ed. Contributors: Susan Buck-Morss, Eduardo Cadava, Peter Osborne. Web publication: [http://www.cepagallery.com/cepa.buffnet.net]
Rosenthal, Stephanie, ed. Stories. Munich: Haus der Kunst; Cologne: Dumont, 2002.
Schöllhammer, Georg. “Spiel ohne Grenzen,” Profil (Vienna), no. 8 (February 1999).
Schurmann, Wilhelm. Dirty Data. Aachen: Ludwig Forum for International Art, 1992. [catalogue]
Schwendener, Martha. “Renée Green: United Space of Conditioned Becomin, Participant Inc.,” The New York Times (New York), (March 30 2007): B29.
Shohat, Ella. “Post-Third Wordlist Culture,” In: Taboo Memories, Diasporic Voices. Durham: Duke University Press, 2006: 290-329. [Text also published in: Feminist Genealogies, Colonial Legacies, Democratic Futures. ed. by M. Jacqui Alexander and Chandra Mohanty. New York: Routledge, 1996: 183-209.]
Shohat, Ella and Robert Stam. Unthinking Eurocentrism: Multiculturalism and the Media. London: Routledge, 1994.
Singerman, Howard. “In Theory & Practice: A History of the Whitney Independent Study Program,” Artforum international (New York), vol. 42, no. 6 (February 2004): 112-117, 170-171.
Smith, Roberta. “Other Planes of There: Renée Green,” The New York Times (New York), (March 31 2000).
Smith, Roberta. “Renée Green: Pat Hearn Gallery,” The New York Times, (New York), (May 1 1992).
Soares de Oliveira, Luísa. “Interferências,” Público. Mil folhas (Lisboa) (20 Novembro 2004): 15.
Sotriffer, Kristian. “Bild, Text, Ton und Film im Shaker,” Die Presse (Vienna), (17 February 1999).
Spiegl, Andreas. “Renée Green: Secession, Vienna,” Frieze (London), no. 47 (July-August 1999): 109.
Stroud, Marion Boulton. New Materials as New Media: The Fabric Workshop and Museum. Cambridge, Mass.: MIT Press, 2002.
Tattenbaum, Judith. “On the Wall: Wallpaper by Contemporary Artists.” In: On the Wall: Contemporary Wallpaper. Providence: Museum of Art, Rhode Island School of Design, 2004.
Tillmann, Lynne and Joe Wood. “Renée Green in Conversation with Lynne Tillmann and Joe Wood.” In: Between and Including. Vienna: Secession; Cologne: Dumont, 2001.
Turbulenz. Portikus Projekte 2001-2004. Frankfurt: Portikus, 2004.
Urbach, Henry. “Just Looking: Architectures of Display,” Village Voice (New York), (June 6 1995).
Viewing, Pia. “Renée Green, Rikrit Tiravanija,” Blocnotes (Paris), no. 12 (April-May 1996).
Vogel, Sabine. “Siebziger verweht,” Frankfurter Allegemeine Zeitung (Frankfurt), (1999).
Volk, Gregory. “Renée Green.” In: Strangers: The First ICP Triennial of Photography and Video. New York: International Center of Photography; Göttingen: Steidl, 2003.
Wailand, Markus. “Stil ist kein Schicksal,” Falter (Vienna), no. 7 (February 1999).
Wallace, Michele. “High Mass,” VLS Symposium, “Are We There Yet”? Village Voice Literary Supplement (New York), (October 1991).
Wallis, Brian. “Excavating the 1970s,” Art in America (New York), vol. 85, no. 9 (September 1997): 96-99, 122.
Wettengl, Kurt. “Poetische Räume,” Frankfurter Allgemeine Zeitung (Frankfurt), (15 December 2002): R:4.
Wiensowski, Ingeborg. “Renée Green,” Kulturspiegel (Vienna), (February 1999).
Winkel, Camiel van and Mark Kremer. “On Top of the World: Renée Green,” Archis (Amsterdam), (March 1994).
Wilmes, Ulrich. “Museum of Our Wishes.” In: Museum unserer Wünsche/Museum of our Wishes. Cologne: Museum Ludwig, 2002.
Wilmes, Ulrich, ed. “Renée Green.” In: Moderne Kunst: die Kunst des 20. Jahrhundert und der Gegenwart im Überblick. Cologne: Museum Ludwig; DuMont, 2006.
Wood, Joe. “It’s a Trick.” In: World Tour. Los Angeles: Museum of Contemporary Art, 1993: 8-14.
Zabunyan, Elvan. “Renée Green: (des)orientations,” Le journal du Centre national de la photographie (Paris), no. 14 (August 2001): 14.
Zabunyan, Elvan. “Stratum and Resonance: Displacement in the Work of Renée Green.” In: Art and the Performance of Memory. Richard Cándida Smith, ed. London: Routledge, 2002: 85-100.
Zabunyan, Elvan. “Archives et généalogie.” In: Black is a Color: une histoire de l’art africainaméricain contemporain. Paris: Dis Voir, 2004: 224-237] [english edition: Black is a Color: Paris: Dis Voir, 2005.]
Zahm, Olivier. “Nantes und die Geschichte des Sklavenhandels,” Texte zur Kunst (Cologne), no. 5 (Winter 1992): 184-186.
Zahm, Olivier. “Mise en Scene.” Huitiemes ateliers internationaux des Pays de la Loire. Clisson: F.R.A.C., 1992. [catalogue]
“Zwichen Zeiten und Orten,” Springerin (Vienna), (January 1999).
Ziegler, Philipp. “Renée Green, Secession, Wien,” noëma (Salzburg), no. 51, (May-June 1999).


FILM SERIES
VistaVision: Landscape of Desire. Pat Hearn Gallery, New York, 1991. [Films screened: Dal
Polo all’equatore (Yervant Gianikian and Angela Ricci-Lucci, 1987); Apunti per una Oriestiade africana (Pier Paolo Passolini, 1970); La noire de... (Ousmane Sembéne, 1965); Song of Freedom (J. Elder Wills, starring Paul Robeson, 1936); films by Osa and Martin Johnson: Across the World with Mr. and Mrs. Johnson (1930); Congorilla (1932); Baboona (1935); I Married Adventure (1940), discussion by Linda Earle and Jewelle Gomez]
Tracing Lusitania: A Prototype. 1991-2001. [Film screened: Paixao Nacional (Karim Aïnouz, 1994)]
Flow. FRI-ART Centre d’Art Contemporain Kunsthalle, Fribourg, Switzerland, 1996. [Films screened: Der sechste Kontinent (Benno Maggi, 1992); Alpen-Internat (Hans Liechti, 1991); Füürland 2 (Clemens Klopfenstein and Remo Legnazzi, 1992); Last Supper (Robert Frank, 1992); I was on Mars (Dani Levy, 1991); Lumumba, la mort du prophète (Raoul Peck, 1992); Hors saison (Daniel Schmid, 1992); James Baldwin: The Price of the Ticket (Karen L. Thorsen, 1990)]
Some Chance Operations. Galleria Emi Fontana, Milan, 1998.
Between and Including. Filmhaus Spittelberggasse, Vienna, 1999. [Films screened: Shadows (John Cassavetes, 1959); Zorns Lemma (Hollis Frampton, 1970); Nostalgia (Hollis Frampton, 1971); Sink or Swim (Su Friedrich, 1990); James Baldwin: The Price of the Ticket (Karen L. Thorsen, 1990); Lumumba, la mort du prophète (Raoul Peck, 1992); Last Supper (Robert Frank, 1992); Der sechste Kontinent (Benno Maggi, 1992); E’Piccerella (Elvira Notari, 1922); Midnight Ramble (Bestor Cram and Pearl Bowser, 1994); Some Chance Operations (Renée Green, 1999)]
Shadows and Signals. Cine Ambigu-Apolo, Barcelona, 2000. [Films screened: Programme 1: Vida en sombras (Lorenzo Llobet Gracia, 1948) and Bajo el signo de las sombras (Ferran Alberich, 1984); programme 2: Medium Cool (Haskell Wexler, 1976) and Underground (Emile de Antonio, Mary Lampson and Haskell Wexler, 1976); programme 3: Dante no es únicamente severo (Jacinto Esteva and Joaquim Jordà, 1967) and Film About a Woman Who... (Yvonne Rainer, 1974); programme 4: Journeys from Berlin (Yvonne Rainer, 1971-1080) and De cierta manera (Sara Gómez, 1974); programme 5: Zorns Lemma (Hollis Frampton, 1970) and Nostalgia (Hollis Frampton, 1971); programme 6: Vida en sombras (Lorenzo Llobet Gracia, 1948) and Some Chance Operations (Renée Green, 1999)]
Forces of Circumstance. Kölnischer Kunstverein, Cologne, 2002. [Films screened: Berlin-Jerusalem (Amos Gitai, 1989); Who Killed Vincent Chin? (Christine Choy and Renee Tajima, 1988); La noire de... (Ousmane Sembéne, 1965); The Grapes of Wrath (John Ford, 1940); I am British But... (Gurinder Chadha, 1989); Dreaming Rivers (Martine Attile, 1988); Pressure (Horace Ovè, 1975)]


AWARDS & GRANTS
DAAD Grant, Berlin, 1993-1994. Artist in Residency.
Arts International Grant, Lisbon, 1992. Artist in Residency.
The Fabric Workshop with Mid-Atlantic States Grant, 1992.
New Jersey State Council on the Arts, 1991-1992 and 1987-1988. Grant recipient.
New York State Council on the Arts, Harlem School of the Arts, 1989-1990. Artist-in-Residence Program Grant.
Art Matters Inc.,1989-1990 and 1993. Grant recipient.
The Studio Museum in Harlem, 1988-1989. Artist in Residency.
Geraldine Dodge Foundation (via Jersey City Museum), 1988. Grant recipient.
School of Alternative Media, New York University, 1987-1988. Artist in Residency.
Artist's Space Exhibition Grants, 1986-1987.
Bronx Museum of the Arts, 1985-1986.


COMMISSIONS
Code: Survey, Permanent public work located at the Caltrans Headquarters, Los Angeles/Morphosis, Thom Mayne, 2004.
American Federation of the Arts and D.A.P./Distributed Art Publishers Inc., New York, 1995-1997. Commissioned to design Artist/Author: Contemporary Artist's Books. Cornelia Lauf and Clive Philpot, eds.; book designed as artist's book by Renée Green. New York: American Federation of the Arts, 1998.
Architectural League of New York. Architectures of Display, with Laura Kurgan, 1995.
Stroom. The Seventh Museum. The Hague, 1994.
Worcester Museum of Art, Worcester, MA, 1991.
FRAC Pays de Loire, Clisson, France, 1991.


SELECTED CONFERENCES, SYMPOSIA & LECTURES
2008
L’art contemporain et les savoirs hétérodoxes. Conversation with Elvan Zabunyan. Institute natiotanal d’historie de l’art, Paris

2007
Multitudes Workshop: Documenta 12 Magazine Project. Documenta 12, Kassel.
The Public In Question. Akademie der bildenden Künste, Vienna. Conference/Seminar conducted by Chantal Mouffe.

2006
Sonic.Focus. Brown University, Providence. Lecture.
“States of Exception,” San Francisco Art Institute. Dean of Graduate Studies, Inaugural lecture.
Visual Culture Caucus Panel, College Art Association, Boston.
“Index from Oblivion: Public/Private Climates + Paradoxes”, Works in Progress Series, Getty Research Institute, Los Angeles
Jeu de Paume, Paris. Lecture.

2005
Baltimore Museum of Art. "Instituting Silence." Panelist.
J. Paul Getty Museum. "Performance and the Re-Do". Panel discussion in the Workshop on Performance and the Visual Arts, organized by Peggy Phelan. Panelist.
Los Angeles County Museum of Art. "Institutional Critique and After." Moderator.
University of California, Los Angeles. MFA Graduate Program, Los Angeles. Lecture.

2004
Haus der Kulturen der Welt, Berlin. Panel discussion.
Los Angeles Contemporary Exhibition. "Looking Ourselves in the Mouth: Conversations with Yvonne Rainer." Colloquium participant
University of California Santa Barbara. Afrogeeks: From Technophobia to Technophilia.
Screening: Wavelinks: A Different Reality.
University of California, Irvine. Department of Art Studio. MFA Graduate Program, Irvine. Lecture.

2003
Columbia University, New York. Lecture.
Art Institute of Chicago. Lecture.
Northwestern University, Evanston. Lecture.
Milwaukke Art Museum and Center for 21st Century Studies, University of Milwaukee. Museums & Difference. Lecture and video presentation.
Barnsdall Art Center, Los Angeles. Art Talk Art: The Impossible Series. Respondent to Sylvère Lotringer.
Victoria Miro Gallery, Goldsmiths College, London. Field Work: Reports From The Fields of Visual Culture. Lecture.
Santa Barbara Museum of Art. Panel with Okwui Enwezor, Dick Hebdige et al.

2002
Staatliche Hochschule für Bildende Künste, Städelschule, Frankfurt. Lecture.
Drawing Center, New York. Drawing (as) Center.

2001
Centro Cultural de Belém, Lisbon. Contemporary Moments. Symposium.

2000
New York University. Contemporary Returns to Conceptual Art: Renée Green, Silvia Kolbowski and Stephen Prina. organized by Simon Leung
Forum Quam 2000. Nuevos modelos de producción en el arte contemporáneo. Montesquiu, Spain.

1999
Witte de With & Netherlands Architectur Instituut, Rotterdam. Changing the System the System?: Artists Talk About Their Practice
Generali Foundation, Vienna and Academyof Fine Arts, Prague. Translocations. Symposium participant.
Regent's Lecturer, UCLA, Los Angeles. Image Trauma symposium. Lecture.
College Art Association, Los Angeles. Who Choses? Lydia Yee, moderator.
Tate Gallery of Art, London. Museums of Modern Art and the End of History symposium.
Le Magasin, Centre National d'art Contemporain de Grenoble in Geneva.
Radiotemporaire.

1998
Malmö Art Academy, Sweden. Out of Site.
Cal Arts, Valencia, CA. Lecture.
University of California, San Diego. Lecture.
Site Santa Fe, New Mexico. Lecture.

1997
San Francisco Museum of Modern Art. Booktalk, with Abigail Solomon-Godeau and Martin Jay.
Vienna Secession. Agenda: Perspektiven kritischer Kunst.
Volksbuhne, Berlin. Loving the Alien: Science Fiction, Diaspora, Multikultur.
Emory University, Atlanta. Lecture

1996
British Council, Amerikahaus and University of Cologne, Cologne.
Mixed Up.

1995
Palazzo delle Esposizioni di Roma, Rome. Arte, Identita Confini.
Institute of Contemporary Art, London. Mirage.
New York University. Lecture in Linda Nochlin seminar.
Yale University, New Haven. Lecture.
Kunstwerke, Berlin. Lecture.
Royal Danish Academy, Copenhagen. Social Plastic.

1994
Munich Kunstverein, Munich. SommerAkademie.
Drawing Center, New York. “Negotiations in the 'Contact Zone'.” A symposium organized and moderated by Renée Green.
Wellesley College. Lecture.

1993
Hochschule der Kunst, Berlin. Lecture.
University Lüneburg, Lüneburg. Lecture.
University of California, Irvine. Lecture.
Museum of Contemporary Art, Los Angeles. Lecture.
Vienna Secession. Lecture.

1992
Hochschule für angewandte Kunst, Vienna.
Goldsmiths College, London.
Institute of Contemporary Art, London.

1991
Hotel des Rothchilds, Paris
Worcester Museum of Art, Worcester, Mass.
Rutgers University, New Brunswick.
Society for Photographic Research Conference, New Orleans.

1990
National Women's Studies Conference, Akron University.
Berkeley Women's History Conference, Rutgers University.
Museum of Modern Art, New York City.


TEACHING POSITIONS
Dean of Graduate Studies, San Francisco Art Institute, 2005-
Distinguished Artist/Professor. Art Department, University of California, Santa Barbara, 2002-2005
Yale University, New Haven. Guest faculty, Autumn 1998.
Akademie der bildenden Künste, Vienna. Professor, 1997-2002.
Whitney Independent Study Program, director of studio program, 1996-1997.
Vermont College, 1995-1996. Faculty member.
University of Lüneberg, 1994-1997. Visiting artist, project with Computer Science, Art History and Sociology Departments.
Hochschule der Kunst, Berlin. Freie Classe. Guest professor, 1993-1994.
Hochschule fur angewandte Kunst, Vienna. Guest professor, 1992-1993.
Whitney Museum of American Art Independent Studies Program. Guest faculty, 1991 to present.
Bank Street College, New York. Educator, media criticism, 1990-1991.
New Museum of Contemporary Art, New York. Educator, High School Art Criticism Program, 1989-1991.


EDUCATION
Whitney Independent Study Program, 1989-1990
Radcliffe Publishing Procedures Course, Harvard University, Cambridge, Mass., 1981
Wesleyan University, Middletown, CT. B.A., 1981
Parsons School of Design, 1982 and 1984
School of Visual Arts, New York City, 1979-1980

  • Renée Green at Yerba Buena Center for the Arts 1 Apr 2010

    February 20—June 20, 2010

    Renée Green: Endless Dreams and Time-Based Streams is a solo exhibition that brings together two projects, United Space of Conditioned Becoming, that features videos, objects, events and lectures produced over a 15-year period, and her most recent multi-media project, Endless Dreams and Water Between first seen at The Maritime Museum, Greenwich, England. In addition, YBCA is also commissioning unrealized components of Endless Dreams and Water Between which includes short films, drawings, banners, audio projects, a window installation at street level, and a related publication in the form of a compendium including texts by scholars, artists and theorists.

    http://www.ybca.org/tickets/production/view.aspx?id=9540

  • Renée Green: Ongoing Becomings at Musée cantonal des Beaux-Arts, Lausanne 19 Sep 2009

    September 19, 2009 – January 3, 2010

    Retrospective 1989 – 2009

    The Musée cantonal des Beaux-Arts, Lausanne presents the first retrospective of the work of Renée Green (*1959), from the late 1980s to the present. Paintings, photographs, multi-media installations, films, videos and sound works are presented in an interlocking rhythm punctuated by color and the sound.
    Conceived in close cooperation with Renée Green, the exhibition makes it possible to apprehend the extent and the exceptional richness of the works carried out by the artist for more than twenty years.

    http://www.musees-vd.ch/en/musee-des-beaux-arts/accueil/

  • Renée Green solo project at the National Maritime Museum, London 1 Jan 2009
    January 22 – April 21, 2009

    Endless Dreams and Water Between is a project by the artist Renée Green, commissioned by the National Maritime Museum. The material cultures of maritime history are intertwined with desires and dreams that are carried across the oceans through experience, representation, misrepresentation and projections of past and present. This exhibition pays attention to the varied ways cultures perceive and conceive of the world. These understandings and perceptions are developed through struggles for happiness, the imaginary, systems for comprehension and dreams, as well as by the pursuit of these very desires. Renée Green has consistently returned to ideas of time and the sea throughout her artistic practice. Endless Dreams and Water Between intertwines these stories of relationships to water and islands with fictional accounts of contemporary island inhabitants and voyagers. Crossing the Mediterranean Sea, Pacific and Atlantic Oceans, as well as the Hudson River, San Francisco Bay and the waters of the Balearic Islands, these journeys point to the assumptions, understandings and creation of island-ideas and idea-islands.
    www.nmm.ac.uk/server/show/ConWebDoc.23065
  • Renée Green in Manifesta 7 19 Jul 2008

    Fortezza/Franzenfeste

    Adam Budak, Anselm Franke/Hila Peleg, RAQS Media Collective: "SCENARIOS"

    July 19 to November 2, 2008

    Manifesta is one of the most important European Biennials of Contemporary Art and it takes place every two years in different cities. In 2008 for the first time Manifesta will take place not in a city but in a whole region: Trentino – South Tyrol, Italy. The area has been selected for its historical heritage, its artistic and cultural facilities and especially for its striking examples of industrial archaeology buildings, which are linked to the work history and the progressive industrialisation of the territory. This land has always been a bridge between Latin and German culture and it connects cultural developments as well as Southern and Northern habits.

    Manifesta 7 will take place in several venues chosen amongst the most important examples of industrial archaeology existing in the Brenner axis, from Rovereto to Trento, from Bolzano to the fortress of Fortezza, to create a broad, multi-faceted event characterized as “100 miles in 100 days”.

    Along with the various exhibitions, the whole territory itself can be seen as the catalyst for a series of collateral events, encouraging research and focusing on the relationship between different cultures.

    http://www.manifesta7.it/

  • Renée Green: Ongoing Becomings. Retrospective 1989-2009

    by Nicole Schweizer (Editor), Nora Alter (Author), Diedrich Diederichsen (Author), Renée Green (Author), Kobena Mercer (Author), Catherine Quéloz (Author), Juliane Rebentisch (Author), Gloria Sutton (Author), Elvan Zabunyan (Author)

    This monograph provides the first overview of the variety and scope of the research carried out by Renée Green (*1959 in Cleveland, Ohio, lives and works in New York and San Francisco) over the past twenty years through mediums as varied as film, video, installation, sound-related works, photographs, prints, banners, texts, websites, and ephemera.

    Renée Green’s work is located both within the legacy of the most ambitious achievements of Conceptual and post-Minimal art, and within a post-colonial critique of culture. It often takes the form of complex, multi-layered archive-like installations that employ a vast array of sources, and point to a variety of issues, always involving the spectator as active participant through multiple points of access. The essays by Nora Alter, Diedrich Diederichsen, Kobena Mercer, Catherine Quéloz, Gloria Sutton, Elvan Zabunyan, and the interview between Juliane Rebentisch and Renée Green not only give an historical overview of the artist’s work, but engage with issues central to her practice such as questions of genealogy and memory, archives and their reworkings, movements and displacements, site-specificity and location, positionalities and perceptions. They offer new insight into the artist’s specific use of images, sound and text, and her inscription in art history.

    Published in collaboration with the Musée cantonal des Beaux-Arts, Lausanne.

    Softcover: 160 pages
    Publisher: JRP-Ringier (September 2009)
    Language: English / French
    ISBN: 978-3-03764-031-9

    To order please visit Amazon