Andrew J Greene

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In the process of gentrification, big city dreams are quickly extinguished by life in corporate spaces. Recolonized communities are dismantled with images of past modes of oppression. As American cities are manipulated into homogeneous spaces, the aesthetic taste of marginalized communities is re-evaluated and reconstituted by capitalism. Fear of progressive change manifests in the reemergence of cultural forms derived from a past defined by a history of oppression. New bars and restaurants open with nostalgic or old-timey interiors and are designed to cater to a population of young, (mostly) “white” professionals. These new urbanites are provided with a sanitized environment modeled on a past in which their social position was less precarious, while preexisting communities are pushed to the fringes. New citizens are urged to express their identity via the consumption of goods and services, and ultimately create an environment in which expressing one’s individuality means alienating oneself from the community.

I make objects for these spaces, the offices, waiting rooms and restaurants used and frequented by the men who are planning our boring apocalypse. I reproduce ubiquitous, handcrafted, decorative objects from defunct urban and suburban spaces, and I imagine the nostalgic future aesthetics of gentrifiers and how marginalized communities might subvert those aesthetics.

By appropriating handcrafted regional or socio-economic vernacular I question my own participation within the structure I critique. Silk Icon (Pho Viet Huong), 2016 is a silhouette of the map of Vietnam featuring a ticking clock and the extinct flag of the former US-backed South Vietnam. Reproduced from a bygone Pho eatery’s original, its form has been gentrified into an appliqué for white box or marble-clad condo. Here I perform an upcycling simulation of colloquial taste that I observe at the junction of class and “urban renewal.” Likewise, Ann Schaumburger: Urban Oasis, 1997 (Duck), 2016 and Ming Fay: Shad Crossing, Delancey Orchard, 2004 (Cherry) 2016 are 1:1 scale replicas of city-commissioned mosaics located within Manhattan subway stations. Mosaics like these were realized through a public art program initiated in in the 1980s designed to make the subway more inviting to the city’s shifting population demographic.

Within the context of my practice these layers of content operate like false flags; what at first seems like an intimate material exploration or a sociological study is a game designed to reveal our uneasy relationship with identity and craft, appropriation and authorship.

b.1988 Lake Forest, IL


2011 B.F.A. School of the Art Institute Chicago


2016 Make New York Better, 83 Pitt Street, New York, NY
2016 Big Apple logistics, Tomorrow, New York, NY
2015 Victory Blindness, Muscle Beach, Portland, OR
2013 Dog With Fleas, Christening for a Cat, Bed-Stuy Love Affair, Brooklyn, NY


2016 Mean Machine (Up Jumped the Devil), Curated by Bill Cournoyer, The Meeting, New York, NY
2015 Great Depression, Curated by Romain Dauriac, Balice Hertling, Paris, FR
2015 Playing Pool with Eggs, Curated by Tobias Spichtig, Galerie Bernhard, Zurich, CH
2015 Tuesday Morning, (w/ Daniel Sullivan), U.S. Blues, Brooklyn, NY
2015 Monday Me, Curated by Kristen Van Deventer, Soccer Club Club, Chicago, IL
2015 Clorox/Envy, Curated by Miles Huston, New York, NY
2015 173 East 94th Street, Curated by Alex Bacon, Michael Thibault, Los Angeles, CA
2014 Seau Banco Carbon, Curated by Bed-Stuy Love Affair and Bobby Jesus, Bed-Stuy Love Affair and Tomorrow Gallery, New York, NY
2014 173 EAST 94th STREET / CHAUSSÉE DE WATERLOO 550, Curated by Alex Bacon, Middlemarch, Brussels, BE 2014 Little Nassau, Little Nassau, Brooklyn, NY
2014 Brisas Del Mar, Michael Thibault, Los Angeles, CA
2013 Turnkey of Forever After, Bed-Stuy Love Affair, Brooklyn, NY
2013 “IT-THOU,” Michael Thibault, Los Angeles, CA
2012 two coffees, two brandies, Curated by Carlos Reyes, Denniston Hill, Woodridge, NY
2012 Warm, Signal, Brooklyn, NY
2011 Painted, Curated by Tyson Reeder, Green Gallery, Milwaukee, WI
2011 Untitled Document, Curated by John Henderson, Tony Wight Gallery, Chicago, IL
2011 Irritable Abstraction, Curated by Suzanne Doremus, Julius Caesar Gallery, Chicago, IL
2010 Television City Dream, Apartment Show New York, Brooklyn, NY


2016 Bad Faith, James Fuentes, New York, NY
Artists: Nayland Blake, Jessica Diamond, Peter Halley, Robert Morris
2014 Bad Influence, Michael Thibault, Los Angeles, CA.
Artists: Gretchen Bender, Ashley Bickerton, Wim Delvoye, Jonathan Lasker
2012 Sculpture Garden, The Poor Farm, Waupaca, WI
Artists: Darja Bajagic, Ali Bailey, David Flaugher, Bradley Kronz, Jared Madere, Win McCarthy, Sarah Sieradzki, Daniel Sullivan, Will Stewart, Kristen Van Deventer


2016 Bad Faith, Tim Gentles, Frieze
2016 Bad Faith, Karen Rosenberg, New York Times
2016 Bad Faith, The New Yorker
2016 Bad Faith, Pac Pobric, Village Voice
2016 Three To See, Victoria Stapley-Brown, The Art Newspaper
2016 Bad Faith, D. Creahan, Art Observed
2015 The Road Less Traveled, Andrew Russeth, ArtNews
2015 Because This Gallery Can Get Stuck in Traffic, Andrew Russeth, New York Magazine
2015 Andrew J. Greene, Claire Healy, Dazed
2014 Bad Influence, Patrick Steffen, Flash Art
2014 Bad Influence, Olivian Cha, Art Forum