Renée Green
| Renée Green | |
|---|---|
| Born | 1959 (age 57–58) Cleveland, Ohio, United States |
| Education |
School of Visual Arts Harvard University |
| Alma mater | Wesleyan University |
| Known for | Film Writing |
Renée Green (born 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 installations. Green studied art at Wesleyan University, with an intermediary year at the School of Visual Arts in New York. Green also attended the Radcliffe Publishing Procedures Course, at Harvard University, Cambridge, MA. In 1989 she was a participant in the Whitney Museum of American Art Independent Study Program (ISP). She is the sister of Derrick Green, frontman of the metal band Sepultura.
Green wrote Discourse on Afro-American Art as her graduating thesis from Wesleyan University, a “textual analysis of criticisms, which were written by both Black and White critics from the 1920s and the 1960s.” A seminal influence was Green’s participation in cataloging Sol LeWitt’s donated collection to Wadsworth Atheneum. Green wrote the catalog entries for Adrian Piper, and Lawrence Weiner.
In 2014, Renée Green published Other Planes of There: Selected Writings with Duke University Press, a work that compiles a substantial collection of her work written between 1981 and 2010.
Green’s work adopts the form of complex and highly formalized installations in which ideas, historical events and narratives, as well as cultural artifacts, are examined from myriad perspectives. 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.”
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 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."
...
Wikipedia