Christopher Green
Education
M.Phil. and Ph.D. in Art History at The Graduate Center, City University of New York
A.B. in Art & Archaeology at Princeton University
Area of Specialization
Modern and contemporary art
Indigenous art and material culture
Ecocriticism; land, place, and environment in art
Courses
ARTH 001N. First Year Seminar: Indigenous Art, Land, and Environment.
ARTH 007: Modern and Contemporary Indigenous Art
ARTH 051 Modern Art in Europe and the United States
ARTH 059 Topics in Contemporary Art
ARTH 061/ENVS056: Art and Culture of Indigenous Philadelphia: From Shackamaxon to the Present
ARTH 062/ENVS053: Land, Art, Place, and Environment
ARTH 079. Indigenous Arts of the Americas
ARTH 0191 Contemporary Art
Biographical Statement
Christopher T. Green is a writer and art historian whose research, teaching, and curating focus on modern and contemporary Native North American art and material culture, primitivisms of the historic and neo-avant-garde, and the global representation and display of Indigenous art and culture. His current research focuses on contemporary Tlingit art and the interrelation of twentieth century Northwest Coast Native art and Euro-American modernism. His criticism, essays, and reviews have appeared in Artforum, Art in America, frieze, Aperture, and The Brooklyn Rail, amongst others, and he has contributed catalogue essays to the New Museum, Heard Museum, Artists Space, BRIC, the James Gallery, and the Fondation Fernet-Branca. His scholarly research has been published in ARTMargins, Winterthur Portfolio, ab-Original, and BC Studies, and in 2019 he co-edited issue 11 of SHIFT: Graduate Journal of Visual and Material Culture, “BLOOD AND EARTH AND SOIL.” He curated “Speculations on the Infrared,” January 30–March 6, 2021 at the Elizabeth Foundation for the Arts.
Green earned a M.Phil. and Ph.D. in Art History at The Graduate Center, City University of New York, and an A.B. in Art & Archaeology at Princeton University. His research has been supported by the Dedalus Foundation, the Smithsonian American Art Museum and National Museum of the American Indian, the International Council for Canadian Studies, the Sealaska Heritage Institute, Lost & Found: The CUNY Poetics Document Initiative, and the Robert Rauschenberg Foundation.
Selected Publications and Works in Progress
FORTHCOMING
Christopher Green, Ishmael Hope, and Aldona Jonaitis, Contemporary Tlingit Art (under contract, University of Washington Press).
Jim Schoppert: What Price This Pound of Whale? and Other Unpublished Writings. Lost & Found: The CUNY Poetics Document Initiative, Series IX. New York: The Center for the Humanities, The Graduate Center, 2022 (in press).
“Indigenous Influences on the Art of Will Barnet.” In Will Barnet (1911-2012), edited by Leslie Pell van Breen. New York: The Artist Book Foundation (forthcoming 2023).
PEER REVIEWED JOURNAL ARTICLES
“Sonic Refusal: Indigenous Belongings without Soundtrack.” In “SOUND, COLONIALISM, AND POWER,” edited by Lauren Rosati. Special issue, MAST: The Journal of Media Art Study and Theory 2, no. 2 (November 2021): 26-40.
“‘Rather Unusual Stuff’: Nathan Jackson’s Early Advent of a Tlingit Modern.” In “The Entangled Gaze: Indigenous and European Views of Each Other,” edited by Gerald McMaster, Julia Lum, and Kaitlin McCormick. Special issue, ab-Original: Journal of Indigenous Studies and First Nations’ and First Peoples’ Cultures 2, no. 2 (2018): 300-326.
“A Stage Set for Assimilation: The Model Indian School at the World's Columbian Exposition.” Winterthur Portfolio 51, no. 2/3 (Summer/Autumn 2017): 95-133.
“Anishinaabe Artists, of the Great Lakes? The Problematic Exhibition of Place in Native American Art.” ARTMargins 4, no. 2 (June 2015): 80-96.
CHAPTERS IN EDITED VOLUMES
“Kimowan Metchewais: A Kind of Prayer.” In Kimowan Metchewais: A Kind of Prayer, edited by Michael Famighetti, 259-266. New York: Aperture Foundation, 2023.
“Retracing Colonial Choreographies in Contemporary Native American Art.” In Art and Migration: Revisioning the borders of community, edited by Bénédicte Miyamoto and Marie Ruiz, 88-112. Manchester: Manchester University Press, 2021.
“Morse Code for Creation: Jim Schoppert's Painterly Language for a Post-Modern Revival.” In Unsettling Native Art Histories on the Northwest Coast, edited by Kathryn Bunn-Marcuse and Aldona Jonaitis, 54-75. Seattle: University of Washington Press, 2020.
“Towards a Digital Bauhaus: The Analog and the Discrete in the Glass Grids of Josef Albers.” In Dust & Data: Traces of the Bauhaus across 100 Years, edited by Ines Weizman, 112-129. Leipzig: Spector, 2019.
SELECT ESSAYS AND REVIEWS
“Time Signatures: Athena LaTocha Interviewed by Christopher Green.” BOMB (March 2022).
“Gabrielle L’Hirondelle Hill.” Artforum.com (June 2021).
“Sky Hopinka: Portraits of Place.” Art in America (March 2021): 71-73.
“Kimowan Metchewais: A Kind of Prayer.” Aperture 240 (Fall 2020): 64-75.
“Stretching the Canvas: Eight Decades of Native Painting.” Art in America (March 2020): 84-86.
“New Red Order: Promote Indigenous Futures.” frieze (February 6, 2020).
“Wendy Red Star.” Art in America (May 2019): 100.
“Nicholas Galanin: The Value of Sharpness: As it Falls.” The Brooklyn Rail (March 2019).
“Beyond Inclusion.” Art in America (February 2019): 72-77.
“In the Studio: Alan Michelson.” Art in America (December 2018): 84-91.
“Moon Dancers: Yup’ik Masks and the Surrealists.” Art in America (September 2018): 105-106.
“Jeffrey Gibson: Violent Histories, Brighter Horizons.” frieze 197 (September 2018): 196-197.
“Demian Dinéyazhi’ & R.I.S.E.: Radical Indigenous Survivance & Empowerment: A Nation is a Massacre.” The Brooklyn Rail (July-August 2018): 51-53.
“An Indigenous Artist’s Futuristic Vision of Traditional Transformation Masks.” Hyperallergic, April 9, 2018.
“Transformer: Native Art in Light and Sound.” The Brooklyn Rail (March 2018).
“Break Open This Container: The Art of Nicholas Galanin.” Art in America (January 2018): 66-71.
“Fluid Frames: The Hybrid Art of Michael Nicoll Yahgulanaas.” Art in America (November 2017).
“A Family of Artists Creates a Portrait of Inuk Life Across Three Generations.” Hyperallergic, September 13, 2017.
“As Dakota Access Pipeline Leaks, Native Artists Examine Contested Landscapes.” Hyperallergic, May 26, 2017.
“Against a Feathered Headdress: A Tale of Two Performance Festivals and Native American Voices.” Hyperallergic, January 17, 2017.
“A Step in the Right Direction for the Display of Native American Art.” Hyperallergic, November 22, 2016.
“When You Tell Someone You’re an Artist that Is Native, They Tell You Who You Should Be.” Hyperallergic, June 9, 2016.
“Unbound: Narrative Art of the Plains.” The Brooklyn Rail (May 2016).
“Disco Beads and Abstract Rawhides: Jeffrey Gibson’s Untraditional “Nativeness”.” Hyperallergic, November 23, 2015.
“WEAVING PAST INTO PRESENT: Experiments in Contemporary Native American Printmaking.” The Brooklyn Rail (November 2015).
“Meryl McMaster: Second Self.” The Brooklyn Rail, September 2015.
“2015 New Museum Triennial: Surround Audience.” The Brooklyn Rail (May 2015).
“The Plains Indians: Artists of Earth and Sky.” The Brooklyn Rail (April 2015).
“Sturtevant: Double Trouble.” The Brooklyn Rail (February 2015).
“She Depicting Her: A Woman’s Perspective. Eleanor Adam, Janet A. Cook, Liz Adams-Jones, Leah Lopez, and Orly Shiv.” The Brooklyn Rail (November 2014).
“For a Love of His People: The Photography of Horace Poolaw.” The Brooklyn Rail (October 2014).
CATALOGUE ESSAYS
“Tacit, Visionary, and Natural Motion.” In Larger Than Memory: Contemporary Art from Indigenous North America. Exhibition Catalogue. Phoenix: Heard Museum, September 4, 2020-TBA.
“NO U-TURNS: Native Art Department International and the Bureau of Aesthetics.” In Native Art Department International, Bureau of Aesthetics. Exhibition Publication. San Francisco/Toronto: KADIST/Mercer Union, October 12, 2019-January 25, 2020.
“See the People.” In Unholding, 9-16. Exhibition Catalogue. New York: Artists Space, November 19, 2017-January 21, 2018.
“A House of Dust…Inhabited by American Indians.” In Alison Knowles: A House of Dust. Exhibition Publication. New York: James Gallery, The Graduate Center, City University of New York, September 7-October 29, 2016.
“The Expansion of the Inupiaq Graphic Art Tradition in the Late Nineteenth Century.” In Messages Across Time and Space: Inupiat Drawings From The 1890s at Columbia University. Digital Exhibition Catalogue. New York: Columbia University Center for the Study of Ethnicity and Race, September 22-November 20, 2015.
“Augustus Francis: Abstract Legacy.” In Augustus Francis: Natural Abstraction, 5-23. Exhibition Catalogue. Saint-Louis/Alsace: Fondation Fernet-Branca, 2013.
Select entries in Art Spaces Directory, edited by Eungie Joo and Ethan Swan, 37, 63, 142, 167-169, 171, 193, 333, 342, 375. New York: New Museum of Contemporary Art, 2012.
