280:, because as Cox writes in an artist's statement, "slavery stripped black men and women of their dignity and identity and that history continues to have an adverse affect on the African American psyche." One of Cox's main motivations has always been to create new, positive visual representations of African Americans. In her article, "A Gynocentric Aesthetic", Cox argues that a shift to matriarchal art will transform aesthetic expressions to interact with daily life and society, rather than compartmentalized artistic discussions that emphasize beauty over process and expression.
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the ethnic group with the most people in poverty, most illegitimate children, most people on welfare, most unemployed men, and most arrests for serious crimes.' Surprised." The posters ran in
Manhattan, Brooklyn and Los Angeles. The project was originally inspired by Cox's five-year-old son who had asked her one day: "Why are all black people bad?"
462:. Cox was the first woman ever to be pregnant during the Whitney Independent Study Program, pregnant at the time with her second son, which motivated her to create the Yo Mama character and series of photographs. In the photograph Cox stands nude, wearing black high heels, brandishing her older son as if he were a weapon. In
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and added their commentary so as to appropriate the quote for their purposes. The idea was to present viewers with real information, which flies in the face of what
Americans are taught to believe. The 24 by 36 inch posters read: "Surprise, Surprise, 'in raw numbers, European-American whites are
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politics. In addition, her work has provoked conversations at the intersections of cultural work, activism, gender, and
African Studies. As a specialist in film and digital portraiture, Cox uses light, form, digital technology, and her own signature style to capture the identities and beauty within
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Cox publicly responded to
Giuliani's accusations by defending her first amendment right to portray herself as Christ. As Cox explained, her Catholic school education taught her that all human beings were created in the likeness of God. "It's all very hypocritical," she was quoted as saying in the
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as "fine", relating the piece to "The perpetuation of the myth that the realistically rendered white Christ is superior to all other representational approaches supports the perception that the main issue is about appearances as signs of cultural and spiritual value, whereas in reality the main
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exhibition…A towering self-portrait, it showed the artist, naked except for a pair of black high heels, holding her two-year-old son…The image presents a woman, both regal and erotic, who seems singularly disinclined to take guff from anyone and whose son will undoubtedly grow up to respect her
611:, then mayor of New York City, saw the work and proceeded to accuse Cox of being anti-Catholic. Giuliani gained national attention when he subsequently called for the creation of a panel to create decency standards for all art shown in publicly funded museums in the city. Giuliani told the
518:'s classic, was first shown. In Cox's reimagining of this historically iconic scene, she stood nude in the place of Jesus Christ and is surrounded by all black apostles, except for Judas, who is white. In 2001, the piece was included in a
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Cox has "dedicated her career to deconstructing stereotypes and to reconfiguring the black woman's body, using her nude form as a subject." She uses herself as a primary model in order to promote an idea of "self-love" as articulated by
644:, "now that he has been busted with the other woman, I wouldn't be talking about moral issues." At the time, Giuliani had recently admitted his affair with long-time friend Judy Nathan and proceeded to divorce his wife, Donna Hanover.
533:. The series featured family snapshots, as well as older family photographs juxtaposed with erotic self-portraits, and new re-creations of art historical classics. "Olympia's Boyz" is featured in this show, which first appeared at the
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to popular representations of Christ by adding: "Ideas of white Christ as necessarily the most 'holy' of images reinforces the power of this myth's creators and supporters, along with the continued unequal treatment of others."
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wrote: "(Renee's) her own heroine. She's very much about using the work as a platform for self-love. And she's clearly having fun in her role playing. It's a very New York attitude: 'Yeah, so what? I'm Jesus. I'm
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piece was because "Christianity is big in the
African-American community, but there are no presentations of us," Cox added, "I took it upon myself to include people of color in these classic scenarios."
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505:. Nantes was historically the last stop on the slave trade, before the ships were to return to Africa to pick up their human cargo. The photographs were installed on billboards all over the city.
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of 13th and 14th century Italy—with deep solemnity. The modern "distortions" and elisions of Cox's representation interact with the reference to iconic martyrdom to evoke the terrible history of
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This was the second time during
Giuliani's tenure that he attempted to censor art shown in New York City's museums and it sparked a national controversy about artists' first amendment rights.
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for Cox has marked her embrace of the digital world and her continued exploration of the human body as a site to engage viewers and evoke the practice of healthy and intersectional discourse.
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in 2001. Cox has written: "The body of work was a rebellion against all of the pre-ordained roles I am supposed to embrace as a woman: dutiful daughter, diminutive wife, and doting mother."
466:, Cox critiques race and gender issues, whilst attempting to "reconcile her persona as a pregnant black woman artist with the white male convention of museum study and classical statuary."
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485:, created a poster campaign to challenge and provoke preconceived notions about race, crime and poverty. "As far as representation, we have to take it back," Cox explained to the
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was originally shown at the Robert Miller
Gallery in 2005. Cox then exhibited the body of work in the Jamaican Biennial in 2007 where it won the Aaron Matalon Award.
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alter-ego, a superhero who fights racism and teaches children
African-American history. In 1998 the body of work was featured in a Fin de Siècle art festival in
334:, Cox majored in film studies. After graduating, she decided to devote her energy to the realm of still photography. She began as an assistant fashion editor at
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In the early 1990s, inspired by the birth of her first son, Cox decided to focus primarily on fine art photography. She received her Master of Fine Arts at the
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In addition to making art, Cox has curated and acted. She has done projects for Rush Art
Gallery from its inception. In 1996 she curated an exhibition entitled
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Cox then returned to New York City, where she continued to work as a fashion photographer for ten years. Among her clients were editorial magazines such as
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In 1999, Cox's work was shown in the Venice
Biennale, in the Oratorio di S. Ludovico, a 17th-century Catholic church, where her piece
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created the Negro Art Collective (NAC) to fight cultural misrepresentations about Black Americans. The collective, working with
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that he did "not believe that it is right for public money to be used to desecrate religion, to attack people's ethnicity."
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and Center for African American History and Culture, Washington, DC, Reflections in Black: A History of Black Photography (
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is one of the focuses of writer Sheila F. Winborne's chapter, "Images of Jesus in Advancing Great Commission", in the book
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to pursue a career as a fashion photographer. She spent three years working in Paris, shooting for magazines including
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Cox continues to show her work as well as develop new projects as she is inspired. Her present work explores
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Kade / Kunsthal in Amersfoort, Holland. Who's More Sci-Fi Than Us, contemporary art from the Caribbean.
236:(born October 16, 1960) is a Jamaican-American artist, photographer, lecturer, political activist and
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552:. In the series, Cox took on the persona of Queen Nanny, who led the Maroons to victory in the
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concern is the power to control outcomes in one's own favor." Winborne further compares Cox's
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746:, Toronto, Canada, Pictures from Paradise: A Survey of Contemporary Caribbean Photography
8:
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2050:"Why Rudy Giuliani's Attempt to Close the Brooklyn Museum Is More Relevant Now Than Ever"
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described the work as referring "back to traditional art forms—in this case, the shaped
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1995:
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1651:"Re-Framing Hottentot: Liberating Black Female Sexuality from the Mammy/Hottentot Bind"
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1191:, Ithaca, NY, Gendered Visions (Prof. Salah Hassan and Dorothy Desir-Davis, Curators)
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515:
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869:, Virginia, She's So Articulate, (Jeffry Cudlin & Henry L. Thaggert Co-Curators)
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Later that year Cox undertook another series of photographs, this one named for the
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Dramatis personae: a look at role-playing and narrative in contemporary photography
840:, New Hampshire, Black Womanhood: Images, Icons, and Ideologies of the African Body
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553:
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336:
143:
99:
2096:
1216:
Cristinerose Gallery, New York, Raje: A Superhero: The Beginning of a Bold New Era
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447:, beatings and emasculation visited on the bodies of black men in this country."
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2439:
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1977:
Reflections in Black: A History of Black Photographers from 1840 to the Present
1960:
1933:
Eversley, Shelly; Morgan, Jennifer L. (2007). "Introduction: The Sexual Body".
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Venice Biennale 1999: Over All - 48th Exposition of International Art, Aperto
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Mona Lisa to Marge: How the World's Greatest Artworks Entered Popular Culture
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X Ball, Barry; Steensma, Regnerus; Nieboer, Jan Willem; Blaettler, James R.
1263:, New York, Black Male: Representations of Masculinity in Contemporary Art (
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353:
295:
1693:
Farrington, Lisa E. (2003). "Reinventing Herself: The Black Female Nude".
1628:. Minneapolis, Minnesota: University of Minnesota Press. pp. 96–107.
852:, Georgia, Undercover: Performing and Transforming Black Female Identities
709:
Tropiques-Atrium, Fort-de-France, Martinique, (Dominique Brebion, Curator)
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1170:, Oratorio di S. Ludivico/New School, Venice (Kathy Goncharov, Curator)
916:, Tennessee, Taking Aim, Selections from the Elliot L. Perry Collection
474:
459:
423:
Black Male: Representations of Masculinity in Contemporary American Art
273:
1396:
Pictures from Paradise: A Survey of Contemporary Caribbean Photography
1146:, New York, Picturing of the Modern Amazon (Laurie Fierstein, Curator)
1020:, Houston, Splat Boom Pow! The influence of Comics in Contemporary Art
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976:, Durham, North Carolina, The Forest: Politics, poetics, and Practice
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as "one of the most striking images in the East Coast portion of the
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388:
283:
1797:"Beyond the Selfie: Renée Cox on the Power of Shooting Black Bodies"
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Self/Image: Technology, Representation, and the Contemporary Subject
1354:
Heartney, Eleanor; Posner, Helaine; Princenthal, Nancy, Scott, Sue.
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Art & identity: the African-American aesthetic at the New School
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Dunye, Cheryl; Goode Bryant, Linda; Tanner, Marcia; Tucker, Marcia.
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440:
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Black Womanhood: Images, Icons, and Ideologies of the African Body
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Discreet Charm of the Bougie, Gallery Nodine Zidoun, Paris, France
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Teaching All Nations: Interrogating the Matthean Great Commission
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Teaching All Nations: Interrogating the Matthean Great Commission
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237:
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Syracuse University College of Visual and Performing Arts alumni
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1410:
Bizarro World! The Parallel Universes of Comics & Fine Arts
1140:, Nantes, Frances, New York a Nantes (Patricia Solini, Curator)
1079:, Brooklyn, Committed to the Image (Barbara Millstein, Curator)
529:
In 2001, Cox opened a show at the Robert Miller Gallery called
2131:
1501:
Colangelo, Lisa and Michael R. Blood "Rufy & 'Yo Mama,'"
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Who More Sci-Fi Than Us?: Contemporary Art from the Caribbean
1309:
Copeland, Cynthia R.; Hulser, Kathleen; Stokes Sims, Lowery,
1304:
Splat Boom Pow! The Influence of Cartoons in Contemporary Art
910:, Legacies: Contemporary Artists Reflect on Slavery, New York
341:
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Cassel, Valerie; Sabin, Roger; Weldt, Bernard; Mayo, Marti.
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and the use of fractals to create sculptural kaleidoscopes.
1058:, New York, Art & Outrage (exhibition presented by the
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Venus in the Dark: Blackness and Beauty in Popular Culture
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Ambrosino Gallery, Coral Gables, FL, Peoples Project 2000
524:
Committed to the Image: Contemporary Black Photographers
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and Ron Clark in the Whitney Independent Study Program.
1535:
The Sunday Review 10 July 2000. "Pride and Prejudice",
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The one chosen: images of Christ in recent New York art
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Looking Forward Looking Back, Elaine L. Jacob Gallery,
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and she co-starred in Bridgett Davis' independent film
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679:
Remix, Themes and Variations in African American Art,
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Urban Mythologies: The Bronx Represented Since 1960's
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Heresies: A Feminist Publication on Art and Politics
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That same year, Cox's seven-foot nude self-portrait
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in New York City. A review of the show published in
244:. Among the best known of her provocative works are
200:
Creative Time Inc. for Street Poster Project (1993)
1848:"ART REVIEW; Constructing Images Of the Black Male"
699:
University of South Florida Contemporary Art Museum
208:Artists-in-Residence Program at Light Works (1997)
1880:"From the Archives: Linda Nochlin on "Black Male""
1356:The Reckoning: Women Artists of the New Millennium
819:, Afro Modern, Journeys through the Black Atlantic
1521:Srivastav, Vinita. "The Woman Behind the Storm."
1311:Legacies: Contemporary Artists Reflect on Slavery
987:, New York, Renee Cox: Queen Nanny of the Maroons
2602:
1909:African American Visual Artists Database (AAVAD)
1442:Feminine Persuasion: Art and Essays on Sexuality
2027:(First ed.). Fortress Press. p. 170.
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1208:, Ridgefield, CT, No Doubt (Renee Cox, Curator)
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1728:Cox, Renee (1990). "A Gynecentric Aesthetic".
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1493:Charles, Nick. "Art of fighting stereotypes."
953:Gigantic ArtSpace, New York, Artificial Afrika
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1514:Nochlin, Linda. "Learning From 'Black Male'"
1470:The Black Female Body: A Photographic History
1463:Black Venus 2010: They Called Her "Hottentot"
1330:Caribbean: Art at the Crossroads of the World
1232:Pace/McGill Gallery, New York, Large Bodies (
223:Museum of Contemporary African Diasporan Arts
2204:Elizabeth A. Sackler Center for Feminist Art
1953:
2382:Why Have There Been No Great Women Artists?
2182:New York School of Applied Design for Women
740:, Posing Beauty in African American Culture
734:, Miami, Caribbean: Crossroads of the World
404:and subsequently spent a year working with
2133:Feminist art movement in the United States
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1905:"Wilson, Fo. (active Milwaukee, WI, 2010)"
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489:The NAC appropriated a quote from scholar
242:feminist art movement in the United States
91:
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1420:Reid-Pharr, Robert F.; Delany, Samuel R.
1295:Bonazzoli, Francesca; Robecchi, Michele.
391:, producing the poster for his 1988 film
69:Learn how and when to remove this message
2170:American Association of University Women
2020:
744:The Power Plant Contemporary Art Gallery
32:This article includes a list of general
2636:Jamaican emigrants to the United States
1240:The Institute of Contemporary Art (ICA)
1003:Busan Biennale 2004, Busan, South Korea
974:Nasher Museum of Art at Duke University
2603:
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1973:
1090:, New York, Renee Cox: American Family
1035:Henry Radford Hope School of fine Arts
872:Mabel Smith Douglass Library Gallery,
647:Cox states that her reasoning for her
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317:, where she portrayed a photographer.
2329:WACK! Art and the Feminist Revolution
2176:National Association of Women Artists
2105:
1648:
1440:Stirratt, Betsy; Johnson, Catherine.
1349:Give Me Liberty!: An American History
658:
607:sparked an enormous controversy when
458:show curated by Marcia Tucker at the
240:. Her work is considered part of the
2270:The Women's Building (San Francisco)
2229:National Museum of Women in the Arts
1823:"Artwork Detail | Kemper Art Museum"
1688:
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1528:Smith, Roberta. "Body of Evidence."
1507:Eversley, Shelly; Morgan, Jennifer.
771:, Caribbean: Crossroads of the World
18:
1727:
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876:, New Jersey, Never Has She Ever...
411:
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307:The Aldrich Contemporary Art Museum
13:
2260:Women's Art Resources of Minnesota
1742:10.1111/j.1527-2001.1990.tb00416.x
1468:Willis, Deborah; Williams, Carla.
1144:The New Museum of Contemporary Art
1041:, Bloomington, Feminine Persuasion
850:Spelman College Museum of Fine Art
728:, Bremen, Germany, Me.Myself.Naked
202:Artists Fellowship Award from The
38:it lacks sufficient corresponding
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2592:Feminist movements and ideologies
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1846:Kimmelman, Michael (1994-11-11).
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1328:Cullen, Deborah; Fuentes, Elvis.
416:In 1994, Cox exhibited her piece
402:School of Visual Arts in New York
16:American photographer (born 1960)
2021:Winborne, Sheila (May 1, 2014).
1185:Herbert F. Johnson Museum of Art
937:Wadsworth Atheneum Museum of Art
526:, curated by Barbara Millstein.
204:New York Foundation for the Arts
23:
2661:People from Scarsdale, New York
2234:New York Feminist Art Institute
2041:
2014:
1974:Willis, Deborah (14 May 2014).
1967:
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922:, Art & Emancipation Worlds
902:The National Gallery of Jamaica
514:a contemporary re-imagining of
2581:Women in the art history field
2265:Woman's Building (Los Angeles)
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1701:(2). Woman's Art Inc.: 15–24.
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1561:. Phaidon Press. p. 108.
1377:Looking Forward, Looking Black
1261:Whitney Museum of American Art
433:Whitney Museum of American Art
1:
2646:Artists from Queens, New York
2626:American contemporary artists
2249:Washington Women's Art Center
1827:www.kemperartmuseum.wustl.edu
1649:Nanda, Shaweta (2019-12-10).
1626:Feminist art and the maternal
1543:
1403:Feminist Art and the Maternal
726:Paula Modersohn-Becker Museum
266:
210:Aaron Matalon Award from The
2671:Jamaican women photographers
2616:American women photographers
2289:Exhibitions or installations
2077:Renee Cox's Official Website
2048:Kaplan, Isaac (2016-12-23).
1911:. 2010-09-17. Archived from
1321:Cox, Renee; Isaak, Jo Anna.
1107:Smithsonian Anacostia Museum
738:Virginia Museum of Fine Arts
497:Soon after, Cox created her
7:
2681:21st-century American women
2656:American postmodern artists
2414:Women Artists in Revolution
2254:Women Artists in Revolution
2097:Aperture interview with Cox
1416:Blasphemy: Art that Offends
1246:and Lia Gangitano, Curator)
968:The Studio Museum of Harlem
920:Yale Center for British Art
908:New York Historical Society
844:Grande Halle de la Villette
626:. Winborne describes Cox's
212:National Gallery of Jamaica
10:
2707:
1351:(Fourth Edition) (Vol. 1).
1323:Renee Cox: American family
1271:Museum of Contemporary Art
1242:, Boston, Sites of Being (
939:, Hartford, CT, Soul Food!
558:Queen Nanny of the Maroons
263:her subjects and herself.
246:Queen Nanny of the Maroons
2631:American feminist artists
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1935:Women's Studies Quarterly
1537:The Independent on Sunday
970:, New York, African Queen
802:, Madrid, Spain, Heroines
320:
221:Chrysalis Award from The
196:
186:
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162:
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2576:List of feminist artists
2374:The Feminist Art Journal
2082:Salon interview with Cox
1557:Phaidon Editors (2019).
1427:Rosenfeld Dassel, Sara.
1018:Contemporary Arts Museum
800:Museo Thyssen-Bornemisza
2686:American women curators
2280:Women's Studio Workshop
2275:Women's Interart Center
2192:Venues or organizations
1511:: Spring / Summer 2007.
1273:, New York, Bad Girls (
846:, Paris, Kréyol Factory
769:Studio Museum in Harlem
387:. She also worked with
311:Ridgefield, Connecticut
97:Cox at the premiere of
53:more precise citations.
2666:Jamaican photographers
2621:American photographers
2419:Women's Caucus for Art
2340:Films or documentaries
2214:Feminist Art Coalition
1488:Magazines and journals
1162:Wayne State University
681:Columbia Museum of Art
520:Brooklyn Museum of Art
464:Yo Mama and the Statue
258:, which exemplify her
227:Gold Rush Award (2015)
2348:!Women Art Revolution
2149:Feminist art movement
1624:Liss, Andrea (2009).
1603:"Renee Cox Biography"
1422:Black Gay Man: Essays
1088:Robert Miller Gallery
1056:Robert Miller Gallery
985:Robert Miller Gallery
867:Arlington Arts Center
649:Yo Mama's Last Supper
604:Yo Mama's Last Supper
585:magazine, art critic
511:Yo Mama's Last Supper
255:Yo Mama's Last Supper
217:Tribeca Film Festival
180:Yo Mama's Last Supper
150:School of Visual Arts
105:Tribeca Film Festival
1509:The Sexual Body: WSQ
765:Queens Museum of Art
454:was included in the
2480:Helen Frankenthaler
2224:Lesbian Art Project
1695:Woman's Art Journal
1559:Great women artists
1454:Thompson, Barbara.
1434:Solana, Guillermo.
904:, Kingston, Jamaica
900:Jamaican Biennial,
761:El Museo del Barrio
575:Critical assessment
332:Syracuse University
139:Syracuse University
2545:Carolee Schneemann
2305:Three Weeks in May
1852:The New York Times
1587:has generic name (
1447:Szeemann, Harald.
1394:Lawrence, O'Neil.
1341:Farrington, Lisa.
1189:Cornell University
1039:Indiana University
874:Rutgers University
834:Hood Museum of Art
674:Yale School of Art
659:Exhibition history
544:national heroine,
483:Gee Street Records
352:and for designers
340:and then moved to
278:Sisters of the Yam
2691:American curators
2598:
2597:
2470:Mary Beth Edelson
2465:Elaine de Kooning
2313:The Sister Chapel
1886:. 6 February 2017
1635:978-0-8166-4622-7
1461:Willis, Deborah.
1414:Plate, S. Brent.
1368:Hoffmann, Nancy.
1244:Milena Kalinovska
1060:Trio Network, Inc
838:Dartmouth College
516:Leonardo da Vinci
418:It Shall Be Named
289:The Village Voice
231:
230:
219:Art Award (2007)
158:
147:
79:
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71:
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2676:Jamaican artists
2540:Rachel Rosenthal
2515:Georgia O'Keeffe
2450:Louise Bourgeois
2321:The Dinner Party
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2087:Rush Art Gallery
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1803:. March 26, 2014
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1772:"Renée Cox's CV"
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1315:Coq, Christian.
1285:Publication list
1062:, and USA Cable)
732:Perez Art Museum
683:, South Carolina
554:First Maroon War
412:Fine arts career
360:, among others.
337:Glamour Magazine
330:As a student at
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123:October 16, 1960
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2144:Feminist art
2092:Soul Culture
2057:. Retrieved
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2016:
1980:. Infobase.
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1917:. Retrieved
1913:the original
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1779:. Retrieved
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1736:(2): 43–62.
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1607:. Retrieved
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1518:, March 1995
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1480:Yee, Lydia.
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1234:Peter McGill
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174:Notable work
103:at the 2008
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2611:1960 births
2555:Alma Thomas
2510:Lee Krasner
2500:Lila Katzen
2475:Suzi Ferrer
2424:Where We At
2377:(1972–1977)
2369:(1977–1992)
2316:(1974–1978)
1605:. Renee Cox
1408:Lotz, Leo.
676:, New Haven
546:Queen Nanny
522:exhibition
487:Daily News.
427:curated by
394:School Daze
350:Vogue Homme
167:Photography
51:introducing
2605:Categories
2560:June Wayne
2297:Womanhouse
2163:Precursors
2059:2017-04-01
1919:2022-02-14
1890:2017-03-18
1865:2017-03-18
1832:2017-03-18
1661:(4): 161.
1655:Humanities
1544:References
1525:, May 2001
1503:Daily News
1496:Daily News
1277:, Curator)
1267:, Curator)
1113:, Curator)
642:Daily News
613:Daily News
589:described
475:Tony Cokes
460:New Museum
441:crucifixes
406:Mary Kelly
315:Naked Acts
274:bell hooks
267:Background
119:1960-10-16
59:April 2011
34:references
2495:Eva Hesse
2006:ignored (
1996:cite book
1860:0362-4331
1776:Renee Cox
1758:143166388
1677:2076-0787
1577:cite book
1337:Bad Girls
1164:, Detroit
1011:2003-2004
930:2006-2008
601:In 2001,
598:gender."
595:Bad Girls
471:Fo Wilson
456:Bad Girls
445:lynchings
389:Spike Lee
384:Seventeen
284:Greg Tate
234:Renee Cox
135:Education
100:Baby Mama
85:Renee Cox
2530:Yoko Ono
2384:" (1971)
1947:27649652
1807:June 24,
1781:June 24,
1436:Heroinas
1236:Curator)
767:and The
542:Jamaican
303:No Doubt
187:Movement
2399:subRosa
1750:3810155
1730:Hypatia
1715:1358782
1609:27 July
1384:Decoded
1382:Jay Z,
633:Yo Mama
628:Yo Mama
620:Yo Mama
591:Yo Mama
550:Maroons
548:of the
452:Yo Mama
431:at the
366:Essence
238:curator
225:(2006)
214:(2007)
206:(1996)
47:improve
2392:Groups
2332:(2007)
2324:(1979)
2308:(1977)
2300:(1972)
2184:(1892)
2178:(1889)
2172:(1881)
2031:
1984:
1961:"HOME"
1945:
1858:
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1565:
618:Cox's
473:, and
381:, and
321:Career
197:Awards
155:M.F.A.
36:, but
2569:Lists
2256:(WAR)
2054:Artsy
1943:JSTOR
1754:S2CID
1746:JSTOR
1711:JSTOR
1530:Vogue
1290:Books
1212:Solo:
1117:Solo:
1083:Solo:
980:Solo:
880:Solo:
705:Solo:
582:Vogue
342:Paris
2029:ISBN
2008:help
1982:ISBN
1856:ISSN
1809:2016
1783:2016
1673:ISSN
1630:ISBN
1611:2017
1589:help
1563:ISBN
1254:1993
1226:1995
1199:1996
1178:1997
1154:1998
1131:1999
1100:2000
1070:2001
1049:2002
1028:2003
997:2004
961:2005
947:2006
894:2007
860:2008
826:2009
810:2010
793:2011
779:2012
754:2013
719:2014
691:2015
666:2016
499:Raje
481:and
356:and
348:and
252:and
250:Raje
144:B.A.
113:Born
1738:doi
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