# Jo-Anne Green

Jo-Anne "Jo" Green (born August 14, 1959 Johannesburg, South Africa) is a printmaker, visual artist, artist, arts administrator, writer, and educator who lived and worked in Jerusalem; New York City, New York; Albuquerque, New Mexico; and Boston, Massachusetts. She cofounded several non-profit organizations to support net art and experiments in digital and electronic literature and art.

## Education

Green attended the University of the Witwatersrand where she graduated with a BFA Honours in Printmaking, majoring in Art History and Painting, in 1981. In 1983, she emigrated to the United States where she attended Southeastern Massachusetts University (now UMASS Dartmouth) and Lesley University, graduating with an MFA in Visual Arts (1989) and an MA in Arts Administration (2003). In 1999, at the University of New Mexico's High Performance Computing Center, Green founded the artist-in-residence program and managed the Art Technology Center until June 2001, when she returned to Boston to complete her MS in Art Administration at Lesley University in 2003. She also taught part-time at Emerson College.

## Personal life

Green lived in Boston for thirty-two years and in Albuquerque, New Mexico (UNM) from 1996-2001. She worked as a Graphic Designer at the University of New Mexico’s High Performance Computing Center where she founded the artist-in-residence program that led to the formation of the Art Technology Center (ATC): it was there, in 2001, that she met her life partner Helen L. Thorington. Green was Program Coordinator for both the ATC and the Arts of the Americas Institute at UNM from 1999-2001. She returned to Boston in 2001, and joined New Radio and Performing Arts, Inc. in 2002: she designed websites, brochures, logos and postcards; and engaged in grant writing and fundraising, among other responsibilities.

## Work

Green had her first art exhibition, with Kim Berman, in Johannesburg (1982). She made prints, paintings, artist’s books and installations, many of them grappling with Apartheid, violence, and chronic pain which she suffered for more than thirty years. In 1989, her MFA Thesis exhibition was accepted by the Cambridge Multicultural Arts, Center; she participated in numerous group exhibitions in Boston and New York. Her one-of-a-kind artist book, “Waiting and Remembering,” was acquired by the Jack Ginsberg Centre for Book Arts at Wits Art Museum, Johannesburg, South Africa where it was shown at the inaugural exhibition of the collection.
Green co-founded Cultural Resistance in 1985, organizing South African art exhibitions and video screenings, and designing and publishing a monthly newsletter, UNCENSORED, with her collaborators Kim Berman and Rachel Weisz. Cultural Resistance was a project of Fund for a Free South Africa (FreeSA) where she volunteered from 1984-1990, culminating in Nelson Mandela’s visit to Boston.
Green was co-director of New Radio and Performing Arts, Inc. (NRPA) from 2002 to 2016 where she founded Upgrade! Boston and curated exhibitions at Art Interactive, funded by the LEF Foundation) and the Huret & Spectre Gallery (funded by the Andy Warhol Foundation for the Visual Arts). NRPA was founded in 1981 to foster the development of new and experimental work for radio and sound arts. It commissioned and distributed 300 works for New American Radio (newamericanradio.org). While at NRPA, Jo-Anne Green also wrote essays that focused on art processes, including Interactivity and Agency in Real-Time Systems.
In early 1996, NRPA extended its mandate to net art. To achieve this, Helen Thorington founded Turbulence.org and Jo-Anne Green joined her in 2002. Turbulence commissioned, exhibited, and archived 356 works that creatively explored the Internet as a site of production and transmission; and supported experimentation with distributed real-time multilocation performance events. The site was produced in New York and Boston and got about 150,000 to 250,000 visitors per month as of 2006. It was also home to two blogs: Networked_Performance and Networked_Music_Review. Other major projects include Networked: a (networked_book) about (networked_art); Mixed Realities (2007); Pulsed Pull Installation Upgrade! Boston; and New England Initiative II. This site defined network performance as "any work that is enabled by computer networks ... which engage users in a performative experience."
She has also organized several exhibitions at Pace Digital Gallery(PDG), Manhattan, New York as well as Green co-organized multiple symposia at PDG as well as the Floating Points speaker series at Emerson College, Boston Massachusetts.

### Exhibitions and curations

Green used digital technology and her background as a painter and photographer for her art. Green has exhibited her artwork in Johannesburg, Boston, and New York, mounting her first solo exhibition, "Well, as a result..." at Different Angle Gallery in 1990. The exhibition examined the slow transition from oppression to freedom, and was informed by her experiences in her native South Africa. The opening of the exhibition celebrated Nelson Mandela and the African National Congress with a performance of South African music.
| Title | Type | Year |
| Pursuing Reality: Possibilities, Harvard Arboretum , | Solo | 10/20/2023-2/18/2024 |
| Jack Ginsberg Centre for Book Arts Opening Exhibition, Wits Art Museum, Johannesburg, South Africa | Group | 2019 |
| Five, Greylock Arts, Adams, Massachusetts, United States | Group | 2012 |
| Greylock's Anatomy, Greylock Arts, Adams, Massachusetts | Group | 2011 |
| Violence Online Festival 6.0, newmediafest.org | Group | 2003 |
| Coming and Going: Beyond the Homeland, Cambridge Multicultural Art Center, Cambridge, Massachusetts | Group | 1992 |
| Caution Art, Thomas Segal Gallery, Boston, Massachusetts | Group | 1991 |
| Voices From South African Artists, Stuart Levy Gallery, New York, New York | Group | 1990 |
| Well, as a result... Different Angle Gallery, Boston, Massachusetts | Solo | 1990 |
| Works on South Africa and Slavery, Cambridge Multicultural Art Center, Cambridge, Massachusetts, 1989 | Two-person | 1989 |
| Five South African Artists, 301 Huron Avenue, Cambridge, Massachusetts | Group | 1989 |
| Evils of Power, UMASS Dartmouth Art Gallery, Dartmouth, Massachusetts | Group | 1986 |
| Women's Work: Political Art by Women, Femmecore Space, Boston, Massachusetts | Group | 1986 |
| Choices: Four South African Artists, Four Walls Gallery, Hoboken, New Jersey | Group | 1986 |
| Between the Covers: Artist's Handmade Books, Massachusetts College of Art, Boston, Massachusetts | Group | 1985 |
| Symphonies and the System, Trevor Coleman Gallery, Johannesburg, South Africa | Two-person | 1982 |
Curator :
| Title | Role | Year |
| KIKI: Migrant Family Life in a South African Compound, a traveling exhibition of photographs by Roger Meintjies; Clark University, Worcester, MA; New England School of Photography, Boston, MA; Pianocraft Gallery, Boston, MA; Boston Public Library, Boston, MA; and Emory University, Atlanta, Georgia | Co-curator | 1991 |
| South African Mail: Messages from Within, Boston Public Library, Boston, Massachusetts | Co-curator | 1991 |
| An Act of Resistance: Making Community(ies), Mobius, Boston, Massachusetts | Co-curator | 1993 |
| DIY or DIE: an Upgrade! New York, Turbulence and Rhizome Net Art Exhibition, IAO Gallery, Upgrade! International Oklahoma City, OK and online at Rhizome.org and Turbulence.org | Co-curator | 2006 |
| David Crawford: Retrospective, Pace Digital Gallery, New York, New York | Co-curator | 2010 |
| Arrested Time: Nathaniel Stern with Jessica Meuninck-Ganger, Greylock Arts, Adams, Massachusetts | Curator | 2010 |
| Networked Realities: (Re)Connecting the Adamses, Greylock Arts and MCLA Gallery 51, Adams, Massachusetts | Co-curator | 2008 |
| Internet Art in the Global South, Johannesburg Art Fair, South Africa | Co-curator | 2009 |
| Turbulence.org New England Initiative II: Networked Art Commissions, Art Interactive, Cambridge Massachusetts | Curator | 2006 |