Andrea Geyer

Biography

Andrea Geyer (b. 1971, Freiburg, Germany) studied photography at the Fachhochschule Bielefeld and fine art at the Braunschweig University of Art, both in Germany. She is a 2000 graduate of the Whitney Museum Independent Study Program. Geyer lives and works in New York.

Geyer’s critically-oriented work ranges across media, incorporating text, photography, painting, sculpture, video, and performance. It explores the complex politics of lived time, its absence and presence in the context of specific social and political situations, cultural institutions, and historical events. From her early investigations into notions of citizenship, and the role of photography in the colonization of North America, to more recent research into the structures that render women’s central contributions to modernism invisible, Geyer’s work continuously seeks to create spaces of critical, collective reflection on the politics of histories that allow for the formation of new memories of that which is marginalized or obscured. Uniting all of Geyer’s ambitious work is the belief that “art should be a site to offer the possibility of re-orientation(s) towards a current moment.”

In her work, the artist renders the desire for social justice visible and gives it a museum presence. For example, one of her key works, Spiral Lands – selected for inclusion in the 12th edition of documenta in Kassel in 2007 – focuses on one of the longest struggles for social justice   in North America: the dispossession of lands from Native Americans and their struggle for their rights and the return of their land. The conceptual image/text work writes a photographic and textual historiography. The central question it addresses is the relation of identity and land in North America. At the example of the Southwest the artist investigates the role of photography in the appropriation of the North American continent. With her camera, Andrea Geyer travels the American Southwest and with historical sensibility she documents not only the land, but also the internalized vantage point of western historiography in impressive landscape photographs. Geyer employs the form of doubling to draw attention to the fact that a point of view and narrative are never singular, but always need to be read in relation to their author and context. The text, however, punctuates the classic pastoral idyll: Geyer’s own poetic observations, which resemble diary entries, reflect the impressions and perspective of a fictional character who travels and documents the land between 1850 and 2007. The artist interweaves these comments with researched passages, quotations from treaties, academic texts or philosophical treatises. As a basis for her research, Geyer mainly draws on works by Native American scholars and writers, addressing topics like identity, contemporary history and colonization as well as exploitation, violence and expulsion.

Through their distinct combination of fiction and documentary strategies, Geyer’s works simultaneously reflect on existing geopolitical, social and cultural systems and propose alternative possibilities. Uniting all of Geyer’s radical, inspirationally ambitious work is the belief that ‘art should be a site to offer the possibility of re-orientation(s) towards a current moment.’

 

Andrea Geyer has been awarded with a Guggenheim Fellowship 2023. Her work has been exhibited widely at institutions including San Francisco Museum of Modern Art in California; The Museum of Modern Art, the Whitney Museum of American Art, Artists Space and White Columns, in New York City; Contemporary Art Museum Houston, Houston, Texas; Portland Institute of Contemporary Art, A Space Gallery, Toronto, Canada; KINDL – Centre for Contemporary Art, Berlin, Germany; Irish Museum of Modern Art, Dublin, Ireland; the Stedelijk Museum, Amsterdam; Red Cat and LACE, in Los Angeles; Tate Modern and Serpentine Gallery, London; Kunstmuseum St.Gallen, Switzerland; Göteborgs Konsthall, Gothenburg, Sweden; Generali Foundation and Secession, Vienna; Museum der Moderne, Salzburg; Govett-Brewster Art Gallery, New Zealand; the Turin Biennale; the São Paulo Biennial; and documenta 12, Kassel, Germany. International public collections with Geyer’s work include the Museum of Modern Art in New York, the Whitney Museum of American Art, San Francisco Museum of Modern Art in California, Neue Galerie, MHK, Kassel, the Museum der Moderne, Salzburg and the Federal Collection of Germany.

In her work, Andrea Geyer renders the desire for social justice visible and gives it a museum presence. 


For example, one of her key works, Spiral Lands focuses on one of the longest struggles for social justice in North America: the dispossession of lands from Native Americans and their struggle for their rights and the return of their land. The conceptual image/text work writes a photographic and textual historiography. The central question it addresses is the relation of identity and land in North America. At the example of the Southwest the artist investigates the role of photography in the appropriation of the North American continent. With her camera, Andrea Geyer travels the American Southwest and with historical sensibility she documents not only the land, but also the internalized vantage point of western historiography in impressive landscape photographs. Spiral Lands / Chapter 1 consists of 19 frames, each combining either two or three black and white photographs with a text. Partly paired in double-takes of the same landscape they recall the tradition of stereoscopy in American landscape photography. 


Geyer employs the form of doubling to draw attention to the fact that a point of view and narrative are never singular, but always need to be read in relation to their author and context. The text, however, punctuates the classic pastoral idyll: Geyer’s own poetic observations, which resemble diary entries, reflect the impressions and perspective of a fictional character who travels and documents the land between 1850 and 2007. 


The artist interweaves these comments with researched passages, quotations from treaties, academic texts or philosophical treatises. As a basis for her research, Geyer mainly draws on works by Native American scholars and writers, addressing topics like identity, contemporary history and colonization as well as exploitation, violence and expulsion.

Biography

Born 1971 in Freiburg, Germany.

Lives and works in New York, USA.

Education and Teaching

2020

Associate Professor of New Genres, Parsons The New School for Design, New York, USA

2004 – 2020

Professor, Malmö Art Academy, Malmö, Sweden

1999 – 2000

Whitney Independent Study Program, New York, USA

1998

Diploma Fine Arts, Academy of Fine Arts, Braunschweig, Germany

1992 – 1994

Studied Photography/Film Design, Fachhochschule Bielefeld, Germany

1991 – 1992

Basic study painting, Independent Art Academy, Stuttgart, Germany

Grants and Awards

2023

Guggenheim Fellowship, Fine Arts

2018

Robert Rauschenberg Residency, Captiva Island, Florida

2012 – 2013

Creative Time Global Residency

2011 – 2012

Museum of Modern Arts Research Fellowship

2007

Art Matters, Louis Comfort Tiffany Foundation Fellowship

2006

Vera List Center for Arts and Politics Fellow

2003

New York Foundation for the Arts, Artist Fellowship

2002

Medienkunstpreis, Kunstadapter. Wiesbaden, Germany

Selected Solo Exhibitions

2023

Plein-air, Hales Gallery, New York, USA

2021

Andrea Geyer. Shadows Nearby, Galerie Thomas Zander, Cologne, Germany

2019

Andrea Geyer. On this day, Hales Gallery, New York, USA

2018

Andrea Geyer. When We, Irish Museum of Modern Art, Dublin, Ireland

Andrea Geyer. Truly Spun Never, Hales Project Room, New York, USA

Andrea Geyer. Collective Weave, Handwerker Gallery, Ithaca, New York, USA

2017

Andrea Geyer. To Those Who Have Eyes To See, San Francisco Museum of Modern Art, San Francisco, USA

Andrea Geyer. How Long Is Now?, KINDL – Centre for Contemporary Art, Berlin, Germany

Andrea Geyer. Gezeiten/Tides, Studiengalerie 1.357, Goethe-Universität, Frankfurt/Main, Germany

2016

Andrea Geyer. Truly Spun Never, Parque Galería, Mexico City, Mexico

Andrea Geyer. Travels on Slender Thread, The New Foundation, Seattle, USA

2015

Andrea Geyer. Time Tenderness, Whitney Museum of American Art, New York, USA

Andrea Geyer. It’s time, she said., Whitney Museum of American Art, New York, USA

Andrea Geyer. Time Fold, Galerie Thomas Zander, Cologne, Germany

2014

Andrea Geyer. Three Chants Modern, Portland Institute for Contemporary Art, Portland, Oregon, USA

2013

Andrea Geyer. . Sound Giving Will Feeling, presented by A Space Gallery and the Images Festival, A Space Gallery, Toronto, Canada

2012

Andrea Geyer. 9 Scripts from a Nation at War, Museum of Modern Art, New York, USA

2011

Andrea Geyer. Comrades of Time, Galerie Thomas Zander, Cologne, Germany

Andrea Geyer. Criminal Case 40/61: Reverb. Siskel Film Center, Chicago, Illinois, USA (screening)

2010

Andrea Geyer, Artforum Berlin, Galerie Thomas Zander, Cologne, Germany

Andrea Geyer. Criminal Case 40/61: Reverb. University Art Gallery / Room Gallery of UC Irvine’s Claire Trevor School of the Arts, Irvine, California, USA

Andrea Geyer. Spiral Lands / Chapter 1 / Chapter 2 / Chapter 3 (mit Simon J. Ortiz). Argos Center for Art and Media, Brussels, Belgium

Andrea Geyer | Sharon Hayes, Göteborgs Konsthall. Göteborg, Sweden

2009

Andrea Geyer | Sharon Hayes. Kunstmuseum St. Gallen. St. Gallen, Switzerland

2008

Andrea Geyer. 9 Scripts from a Nation at War, Ret Cat, Los Angeles, USA

Andrea Geyer. Spiral Lands / Chapter 1. Galerie Thomas Zander, Cologne. Germany

Andrea Geyer. The past never changes. Galerie Hohenlohe, Vienna, Austria

Andrea Geyer. 9 Scripts from a Nation at War, Tate Modern L2 Gallery, London, UK

2005

Andrea Geyer. Spiral Lands. A reading. Free Space. Chelsea Hotel, New York, USA

Andrea Geyer. Citizenship: Changing Conditions. IASPIS, Stockholm, Sweden

2004

Andrea Geyer. Parallax. Kunstverein St. Gallen im Katharinen, St. Gallen, Switzerland

Andrea Geyer. Meaning is what hides the instability of one’s position. (with Katya Sander), Kunstmuseum Esbjerg, Esbjerg, Denmark

2003

Andrea Geyer, Secession, Vienna, Austria

2002

Andrea Geyer. o.T., Raum für aktuelle Kunst, Luzern, Switzerland

Andrea Geyer. Ortswechsel. Plattformen und Galerie Paula Böttcher, Berlin, Germany

2001

Andrea Geyer. Fantasies are feelings given form. Don’t worry, they are safe if understood. Parlour Projects, Brooklyn, New York, USA

Andrea Geyer. Information Upon Request. Galerie Paula Böttcher, Berlin, Germany

Andrea Geyer. Information Upon Request. Galerie T-19, Vienna, Austria

2000

Andrea Geyer, Project space. P.S.1 Contemproary Art Center, Long Island City, New York, USA

Andrea Geyer. Cambio de Lugar_Change of Place. La Panaderia, Mexico City, Mexico

Selected Group Exhibitions

2023

What Now? (Or Not Yet), Frances Lehman Loeb Art Center, Poughkeepsie, NY, USA

2022

European Trails. Europäische Fotokünstlerinnen der Gegenwart, H2 – Zentrum für Gegenwartskunst, Augsburg, Germany

Disorienting Plans, Aronson Gallery, Parsons The New School, New York, NY, USA

2021 – 2022

Kindred Solidarities: Queer Communities and Chosen Family, Shelley & Donald Rubin Foundation, The 8th Floor, New York, USA

New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum, Berkeley, CA, USA

2020 – 2021

BOOKS. An exhibition of books about art and art about books, Galerie Thomas Zander, Cologne, Germany

2020

Emotion and Structure, Galerie Thomas Zander, Cologne, Germany

2019

The Rest of History, Virginia MOCA, Virginia Beach, VA, USA

2018 – 2019

Could Be (An Arrow) A Reading of La Colección Jumex, Fundación Jumex, Mexico City, Mexico

2018

Cast of Characters, The Bureau of General Services-Queer Division, New York, USA

2017

VOICE = SURVIVAL, The 8th Floor, New York, USA

Photo Kinetics. Movement, Body & Light in the Collections, Museum der Moderne, Salzburg, Austria

2016

How Long Is Now?, Maschinenhaus (Power House), Kindl Zentrum für Zeitgenössische Kunst, Berlin, Germany

Everything Happens Somewhere – Landschaftsstrategien, Galerie Thomas Zander, Cologne, Germany

Kunst –Musik –Tanz, Museum für Moderne, Salzburg, Austria

Time / Image, Krannert Art Museum, University of Illinois, Champaign, Illinois, USA

2015

Rewriting Histories, Fotografisk Center, Copenhagen, Denmark

Time / Image, Blaffer Art Museum, Houston, Texas, USA

Sebald Variations, Centre de Cultura Contemporània, Barcelona, Spain

2014

Art/Histories, Kunstmuseum Salzburg, Austria

Palace Revolution, Galveston Arts Center, Galveston, Texas, USA

More Real Than Real Itself, Contemporary Art Museum, Houston, Texas, USA

Dealing with… Short Film Program, curated by Marc Glöde, Art Basel, Basel, Switzerland

A VOICE OF ONE’S OWN – On Women’s Fight For Suffrage And Human Recognition, Art Centre Winzavod, Moscow, Russia

Malmö Konstmuseum, Malmö, Sweden

Unsettled Landscapes, SITE Santa Fe, Santa Fe, New Mexico, USA

Space Set/Set Space, collaboration with Sharon Hayes for her solo show at Carleton University Art Gallery, Canada

2013

STAGE SET STAGE: On Identity and Institutionalism, SBC Gallery, Montréal, Canada

Mix NYC: 26th Annual Queer Experimental Film Festival, New York, USA

FIAC (Foire Internationale d’Art Contemporain) CINÉPHÉMÈRE, Screening: Insistence, Paris, France

Against Method: The Collection Seen by Gertrud Sandqvist, Generali Foundation, Vienna, Austria

Decenter: An Exhibition on the Centenary of the 1913 Armory Show, Abron Arts Center-Henry Street Settlement, New York and Luther W. Brady Art Gallery, George Washington University, Washington, D.C., USA

Nur hier, Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany

Where Do We Migrate To?, Center for The Visual Culture at the University of Texas, El Paso, Texas, USA

The Famous Fem(inists): Disobedience, Screening: Criminal Case, Järvafältet, Stockholm, Sweden

Wordy Rappinghood, Bureau Publik, Copenhagen, Denmark

The One Minute Film Festival 2003-2012, Mass MoCA, North Adams, Massachusetts, USA

2012

Stage It! (part one), Stedelijk Museum, Amsterdam, Netherlands

Spiral Lands (Chapter 1 and 2), Taipei Biennial, Taipei, Taiwan

Contours of the Common, Centre for Contemporary Art Derry, Londonderry, Ireland

Permission for the Revolution, Off Limits, Madrid, Spain

Comrades of Time. Performance. curated by Arika as part of the 2012 Whitney Biennial, Whitney Museum of American Art, New York, USA

Where Do We Migrate To?, Center at Parsons, The New School for Design, New York, USA

Where Do We Migrate To?, Contemporary Art Center, New Orleans, Louisianna, USA

Habla, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Celebration of the Body #2: History of Art in the Age…, University Lumière Lyon 2, Lyon, France

True Stories: Scripted Realities, Govett-Brewster Art Gallery, New Zealand

ARIKA. Episode 3: Copying without Copying. Tramway, Glasgow, Scotland

Space Set/Set Space, collaboration with Sharon Hayes for her solo show at Whitney Museum of American Art, New York, USA

Infinite Repetition of Revolt, collaboration with Josiah McElheny for “Josiah McElheny: Some Pictures of the Infinite”, The Institute of Contemporary Art, Boston, Massachusetts, USA

2011

Walking Forward – Running Past, Art in General, New York, USA

Back to the Future, Kunstmuseum St. Gallen, St. Gallen, Switzerland

Kindred Spirits. Galerie Peter Blum, New York, USA

CUT, Galerie Thomas Zander, Cologne, Germany

InSite: Art +Commemoration, Lower Manhattan Cultural Council, New York, USA

Push and Pull (with Josiah McElheny), MuMOK, Vienna, Austria

Push and Pull (with Josiah McElheny), TATE Modern, London, UK

No Man’s Land, Montehermoso Cultural Centre, Spain

Schon Wieder, Kunstverein Medienturm, Graz, Austria

Where Do We Migrate To?, curated by Niels Van Tomme, Center for Art, Design and Visual Culture, University of Maryland, Baltimore, Maryland, USA (travelling exhibition)

2010

29 Bienal de São Paulo, São Paulo, Brazil

Bucharest Biennale 4, Bucharest, Romania

Behind the Fourth Wall, Fictitious Lives – Lived Fictions, Generali Foundation, Vienna, Austria

50 Artists Photograph The Future, Higher Pictures, New York, USA

First Nations / Second Nature, SFU Contemporary Arts, Audain Gallery, Simon Fraser University School for the Contemporary Arts, Vancouver, British Columbia, Canada

Where Everything Is Yet to Happen, Banja Luka, Bosnia-Herzegovina

Nobody’s Property: Art, Land, Space, 2000-2010, Princeton University Art Museum, New Jersey, USA

To the Citizens, Serralves Museum, Porto, Portugal

Go West, Salt Lake Art Center, Salt Lake City, Utah, USA

Those Who Control the Past Command the Future – Those Who Command the Future Conquer the Past, Signal, Sweden

2009

Avant-Guide to NYC: Discovering Absence, Apex Arts, New York, USA

Free as Air and Water, The Cooper Union, New York, USA

Heaven, Athens Biennal, “World Question Center”, Athen, Greece

Everything has a Name or the Potential to being named, Gasworks, London, UK

Still / Moving / Still, Photofestival Knooke, Belgium

Drifting Histories, Hessel Museum, Bard College, New York, USA

2008

When Absence Becomes Presence, Washington Project for the Arts, Washington, D.C., USA

T2-50 Moons of Saturn, Torino Triennale, Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy

Zones of Conflict, Pratt Manhattan Gallery, New York, USA

2 x [ ( 2 x 20) + (2 x 2) ] + 2 = X x (desperately) trying to figure out the world, Mai 36 Galerie, Zurich, Switzerland and Brooke Alexander Gallery, New York, USA

Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, New York, USA

The Activist Impulse, Women & Their Work, Austin, Texas, USA

Zagreb Queer Festival. Zagreb, Croatia

The Greenroom: Reconsidering the Documentary and Contemporary Art, CCS Galleries and Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, USA

Field Work 1, Smart Project Space, Amsterdam, Netherlands

War Stories, Sandra and David Bakalar Gallery, MassArt, Boston, Massachusetts, USA

Headlines & Footnotes, Henie Onstad Kunstsenter, Oslo, Norway

“Nicht Alles Tuen.” Ziviler und Sozialer Ungehorsam an den Schnittstellen von Kunst, radikaler Politik und Technologie, Kunstraum emyt, Berlin, Germany and Galerie IG Bildende Kunst, Vienna, Austria

2007

Just Space(s), Los Angeles Contemporary Exhibitions, Los Angeles, California, USA

Brave Lonesome Cowboy, Kunstmuseum St. Gallen, St. Gallen, Switzerland

documenta 12, Kassel, Germany

Exile of the Imaginary. Politics / Aesthetics / Love, Generali Foundation, Vienna, Austria

2006

The Look of Law, University Art Gallery UC Irvine, California, USA

Knowing you/Knowing me, Camer Austria, Graz, Austria

Cooling Out. On the paradox of feminism, Kunsthaus Baselland, Muttenz, Switzerland and Kunstraum Lüneburg, Lüneburg, Germany

If a cat gives birth to kittens in an oven, are they kittens or biscuits? Roebling Hall, Brooklyn, New York, USA

Re_dis_trans. Voltage of Relocation and Displacement, Apex Art, New York City, USA

When Artist Say We, Artist Space, New York, USA

Low-Intensity Conflict. Swiss Institute, New York, USA

Der Raum zwischen zwei Bildern. Galerie Fotohof, Salzburg, Austria

2005

Looking at America, Galerie Hohenlohe, Vienna, Austria

Information Tranformation, ExtraCity, Antwerp, Belgium

re:site Montréal, Oboro, Montréal, Canada

Be what you want but stay where you are, Witte de With, Rotterdam, Netherlands

Patriot, Contemporary Museum, Baltimore, Maryland, USA

e-flux Video Rental, New York, USA and Berlin, Germany

Die Regierungen (The Government), Paradisische Handlungsräume (Elysian Spheres of Action), Secession,Vienna, Austria

I beg your Pardon, or the Reestablishment of Cordial Relations, Vera List Center for Arts and Politics, The New School, New York, USA

2004

How do I want to be governed? (figure and ground), Miami Art Central, Miami, Florida, USA

Identify. Studies on the Political Subject, Vera List Center for Arts and Politics, New York, USA

Me, Myself and I, Kunstmuseum St. Gallen, St. Gallen, Switzerland

Teasing Minds, Kunstverein München, Munich, Germany

External Affairs, PS122 Gallery, New York, USA

The Freedom Salon, Deitch Projects, New York, USA

Open House, O.K. Center, Linz, Austria

Gelebte Bedingungen, Kaskadenkondensator, Basel, Switzerland

2003

The American Effect, Whitney Museum of American Art, New York, USA

Western: Terms of Use, Charlottenborg, Copenhagen, Denmark

Between Spaces, Centro Cultural Andratx, Mallorca, Spain

Between Spaces, Galerie Asbaek, Copenhagen, Denmark

Usted está aquí (You are here), Espacio La Rebeca, Bogotá, Colombia

Opening, Andrew Kreps Gallery, New York, USA

2002

En Route, Serpentine Gallery, London, UK

Organisationen, Skuc Gallerija, Ljubljana, Slovenia

Hausordnung, Stadthaus Ulm, Ulm, Germany

Manifesta4, Frankfurt/Main, Germany

Over the Moon (with Ulrike Feser), Große Gefühle zwischen Inszenierung und Authentizität, Künstraum Kreuzberg / Bethanien, Berlin, Germany

Preisträger des Medienkunstpreises, Kunstadapter 2002, Kunstverein Wiesbaden, Wiesbaden, Germany

Social Sectors, Kunsthalle Exnergasse. Vienna, Austria

The Captain’s Road, Dublin, Ireland

Stepping Back, Moving Forward, Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania, USA

2001

The Subject and Power (the lyrical voice), Central House of Artists, Moscow, Russia

2000

Selections, LFL Gallery, New York, USA

Open Studio, Whitney Independent Study Program, New York, USA

1999

Architorture. White Columns, New York, USA

Raumgrenzen. Spacelines. Raum 1 /Galerie Hubert Winter, Vienna, Austria

Office. Staff Gallery, New York, USA

Parking. Maydayproduction, Highbridge Park, New York, USA

Andrea Geyer, Tim Maul, Clara Williams. Gallery Pierogi 2000, Brooklyn, New York, USA

1998

A streetwalk named desire, Kunstraum Luzern, Luzern, Switzerland

Archive. Christchurch, New Zealand

Kunst-Preis der Sparkasse Recklinghausen, Recklinghausen, Germany

1997

Hjem. Architecture Space, Gammeldock, Kopenhagen, Denmark

Kiosk. Downtown Artsfestival, New York. USA

Ulrike Feser, Andrea Geyer, Wolfgang Stahr. Galerie Conrads, Düsseldorf, Germany

Other Selected Projects / Lectures

2014

Comrades of Time. Performance as part of ACTS – Festival for Performative Art, Museum of Contemporary Art, Roskilde, Denmark

Creative Time Global Residency: Notes From the Field, Monday, April 21, 2014. Joe’s Pub, New York, USA

Artist Talk. PSU MFA Studio Lecture Series. Wednesday, April 16, 2014. Portland Institute for Contemporary Art, Portland, Oregon, USA

Artist Talk. Thursday, April 3, 2014. Smith College, Northampton, Massachusetts, USA

2013

Artist Talk, in conjunction with the Images Festival, Images Hub / Urbanspace Gallery, Toronto, Canada

Mining The Archives for a Feminist Pre-History. Presentation and discussion with Sabine Breitwieser in Conjunction with The Feminist Art Project and College Art Association. Saturday, February 16, 2013, Brooklyn Museum, New York, USA

2012

Stage It! (part one). Stedelijk Museum, Amsterdam, Netherlands

Comrades of Time. Performance as part of “A survey is a process of Listening,” Whitney Museum of American Art. Part of the 2012 Whitney Biennial’s performance program organized by Arika, New York, USA

Performance: Always in Time. Women Art and Politics, part of series Something to Say- Something to Do: The Politics of Authorship and History of Exhibitions, Vox centre de l’image contemporaine, Montreal, Canada

Poetics of Anxiety and Security: the Problem of Speech and Action in Our Time, Conference in collaboration with Birkbeck, School of Law and The Birkbeck Institute for the Humanities. Serpentine Gallery, London, UK

How Can Art Effect Political Change? Panel Discussion presented by apexart and Vera List Center for Art and Politics, October 2, 2012. The New School, New York, USA

Things Have Changed. Art Practice, Activism, and Pedagogy: Some Feminist Views. April 5th, 2012, Parsons the New School for Design, New York, USA

Notes on Lilly Bliss, Mary Sullivan and Abby Rockefeller. Women Make Modern. April 5th/6th, 2012, Art History Department. Yale University, New Haven, Connecticut, USA

History from within. The Core Lecture Series. April 6, 2012. Glassell School of Arts, Museum of Fine Arts, Houston, Texas ,, USA

9 Scripts from a Nation at War. Modern Mondays. April 30, 2012. Museum of Modern Art, New York, USA

Spiral Lands: Un-learning Visual Regimes. May 6th, 2012. Frieze Art Talks, Frieze Art Fair, New York, USA

2011

Spiral Lands: Un-learning Visual Regimes. Essentially Indigenous? National Museum Of the American Indian, May 6th, 2011. New York, USA

The Infinite Repetition of Revolt The Infinite Repetition of Revolt: Conceptual Art as Memory, Panel on Conceptualism-as-Medium: The Poetics of Critique, College Art Association (CAA), New York, USA

Feminism/Nationalism, Brussels, Belgium

2010

Human Rights Conference: Confronting Images and Testimonies, Wexner Center, Columbus, Ohio, USA

Conversations with Contemporary Artists. Moderated by Glenn D. Lowry. March 31, 2010, Museum of Modern Art, New York, USA

Enemy Combatant Status Review Tribunals. (with Sharon Hayes and Ashley Hunt)

Human Rights Conference: Confronting Images and Testimonies. March 4th, 2010. Wexner Center, Columbus, Ohio, USA

2009

Solemny Proclaimed. Art Matters Now. October 17th, 2009. Art Matters Foundation, New York, USA

Criminal Case 40/61: Reverb. Revolutions in Public Practice, Panel on Activating Public Memory. September 16th, 2009. Creative Time Summit at the New York Public Library, New York, USA

Transpedagogy, May 15, 2009. Think Tank, Museum of Modern Art, New York, USA

Zones of Conflict, Symposium Image Wars: Conflict, Media, Globalization, January 30th, 2009. Pratt Manhattan Gallery, New York, USA

Unreal Asia, Panel on The Spectre of the Avant-Garde, May 3rd, 2009. International Film Festival, Oberhausen, Germany

2008

Spiral Lands / Chapter 2. Modern Mondays, Museum of Modern Art, New York, USA

Ours: Democracy in the Age of Branding. Sheila C. Johnson Design Center, Vera List Center for Art and Politics, The New School, New York, USA (curated by Carin Kuoni)

2007

Land Grab, Workshop on Strategies of Occupation: Grabbing Land and the Political Agency of the Artist, Apex Art, New York, USA

9 Scripts from a Nation at War (collaboration with Sharon Hayes, Ashley Hunt, Katya Sander and David Thorne), Vera List Center for Art and Politics, The New School, New York, USA

2005

Artist and Influence. Conversation with Yvonne Rainer, Hatch-Billops Collection, New York, USA

2004

The Artist as an Intellectual?, Akademie der Künste in collaboration with Secession, Vienna, Austria

Go heal yourself. The Flick Collection will be closed, Hebbeltheater, Berlin, Germany

Selected Bibliography

2019

Andrea Geyer: Dance in a Future with All Present. Edited by Alhena Katsof, Karen Kelly, Barbara Schroeder, Portland Institute of Contemporary Art, Oregon, USA

2017

Hotchkiss, Sarah. “At SFMOMA, Andrea Geyer Taps into Founding Principles of the Museum,” KQED Arts (online), kqed.org, March, 7

2016

Arozqueta, Claudia. “Andrea Geyer’s ‘Truly Spun Never’” in Art Agenda (online), http://www.art- agenda.com, March 2

Moten, Fred. The Service Porch., Letter Machine Editions, Tucson, Arizona, p. 119-120

Graves, Jen. “Andrea Geyer Redraws the Maps of Women Erased from Art History at the New Foundation” in The Stranger: SLOG (online), January 11

2015

Griffith, Phillip. “Walid Raad and Andrea Geyer” in The Brooklyn Rail, December 9

Campbell, Andrianna. “Andrea Geyer” in Artforum, 500 Words, November 11

Greaney, Patrick. “Rescuing the Past: Repetition and Reenactment in Jeremy Deller, Andrea Geyer, and Sharon Hayes,” Postscript: Writing After Conceptual Art, ed. by Nora Burnett Abrams and Andrea Andersson, University of Toronto Press, Toronto, Canada

Tang, Jeannine. “Look Again: Subjectivity, Sovereignty, and Andrea Geyer’s Spiral Land” in Critical Landscapes, University of California Press, Oakland, California

2014

Art/Histories, Museum der Moderne Salzburg, Austria

Joseph Albers: no tricks, no twinkling of the eyes, edited by Tone Hansen and Milena Hoegsberg, Verlag der Buchhandlung Walther König, Cologne, p. 173-183

Unsettled Landscapes, SITE Santa Fe, Santa Fe, NM

Dean Daderko, “Fast Forward,” in More Real Than Reality Itself, Contemporary Arts Museum, Houston, Texas

2013

Juli Carson, “Das Populäre und das Konzeptuelle,” in A Book about Collecting and Exhibiting Conceptual Art after Conceptual Art, (Wien: Generali Foundation, 2013) p. 441-445

Giovanna Zapperi, “Woman’s Reappearance: Rethinking the Archive in Contemporary Art—Feminist Perspectives, “ Feminist Review, Issue 105, November 2013, p. 38-45

Jamie Hanton, “True Stories / Scripted Realities,” Circuit: Artist Film and Video Aotearoa New Zealand, January

2012

Lawrence McDonald, “Expanding Video. True Stories: Scripted Realities.” Illusions: New Zealand Moving Image and Performing Arts Criticism, Issue 43/44, September 2012, p. 65-69

Franic Hunger, “Andrea Geyer: Comrades of Time,” Nothere, http://nothere.irmielin.org

John Hurrell, “Art Production as Film Set,” eyecontactsite.com, April 16, 2012

Karen Rosenberg, “Homages and Soapboxes Mix and Mash It Up: Sharon Hayes Solo Show at the Whitney, The New York Times, June 28, 2012

Marcelline Block, “The Aesthetics of Migration,” Afterall (online), May 30, 2012

Juli Carson, “Aesthetics of Repetition: A Case for Oscar Masotta,” X-TRA, volume 14, number 3, Spring

2011

Catherine L. Benamou, “Andrea Geyer: Criminal Case 40/61: Reverb,” X-TRA, Volume 13, Number 4, Summer 2011, p. 34-41

Niels Van Tomme, “Where Do We Migrate To?,” in Issues in Cultural Theory #14, ed. Niels Van Tomme, University of Maryland, Center for Art, Design and Visual Culture, Baltimore

Juli Carson, “Criminal Case 40/61: Reverb,” in The Limits of Representation: Psychoanalysis and Critical Aesthetics, Letra Viva, Argentina, p. 179-184

2010

To the Citizens. Serralves Museum. Porto, Portugal

29ª Bienal de São Paulo. São Paulo, Brazil

Bucharest Biennial 4 (curated by Felix Vogel), Bucharest, Romania

2009

Andrea Geyer/Sharon Hayes, Kunstmuseum St.Gallen, Kehrer Verlag, Nuremberg, Germany

Susanne Leeb, “Antiromantic Conceptualism: Uber ‘Spiral Lands/Chapter 1’ by Andrea Geyer,” Texte Zur Kunst, Issue 73, March

2008

Janet Catherine Berlo, introduction to Andrea Geyer / Spiral Lands / Chapter 1, by Andrea Geyer, Koenigs Books, London, I-XIII

Johanna Burton, “So Above, So Below: Andrea Geyer’s Audrey Munson,” in Andrea Geyer: Queen of the Artists’ Studios, (New York City: Art in General, New Commissions Program XII, 2008) p. 75-79

50 Moons of Saturn, T2 Torino Triennale (cat.), ed. by Daniel Birnbaum, Italy

Ian White, “One Script for ‘9 Scripts from a Nation at War,'” Afterall, Summer

Headlines & Footnotes, ed. by Caroline M. Ugelstad, Henie Onstad Kunstsenter, Norway

2007

Cynthia Chris, “Geschichten Erzählen und übersetzen,” Springerin, Band XIII, Heft 4 –Herbst 2007, Austria

Julia Bryan-Wilson,”Changing the Subject,” Artforum, October 2007, New York

Jeff Derksen, “Andrea Geyer,” documenta 12, catalogue, Kassel, Germany

documenta 12, Picture Book/contributing photographer, Kassel, Germany

Brave Lonesome Cowboy, catalogue, Kunstmuseum St. Gallen, St. Gallen, Switzerland

Parveen Adams, “Art and the Time of Repetition,” Exile of the Imaginary: Politics / Aesthetics / Love, ed. Juli Carson, Exhibition Catalogue, Generali Foundation, Vienna

2005

Regierungen, Paradiesische Handlungsräume, Secession, Vienna, Austria

2004

Starship, From the notebooks: Audrey Munson

Space Program, Lower Manhattan Cultural Council. Scapes, Basic Cartography

Roland Schony, “Parallax” in Open House: Art and the Public Space, OK Center for Contemporary Art, Austria

2003

The American Effect, Exhibition Catalogue, Whitney Museum of American Art, New York

Andrea Geyer, Secession, Vienna, Austria

2002

On Route, Serpentine Gallery, London, UK

Medienkunstpreis, Kunstadapter, Wiesbaden, Germany

Social Sectors, Kunsthalle Exnergasse, March

Charley, Les Presses du Réel/Janvier. Künstlerportraits: Andrea Geyer, Frankfurter Rundschau, July 15th, 2002, Kulturspiegel

Manifesta catalogue, Shortguide. Frankfurt/Main

2001

Martin Conrads / Ulrich Gutmair, Justify My Love: Andrea Geyer, Cecily Brown, Dorit Margreiter, Stefan Ettlinger, Texte zur Kunst #42, Berlin. p. 102

William Stover, “At a Remove,” Zeitschrift des Center for Photography, Woodstoock, p. 1

Nicolas Siepen, “Verorte mich, ich bin ein Zeichen,” Frankfurter Allgemeine Zeitung, 20.03.2001. p. BS6

Christa Benzer, “Andrea Geyer: Information Upon Request,” Springerin, Band 7, Heft 1/01, Vienna

Particia Grzonka, “Frauenhäuser,” Profil, 12.2.01, profil7. Vienna, Austria

Nicole Scheyerer, “Andrea Geyer, Galerie T-19,” Falter 5/01, 2.2.01, Vienna, Austria

Florian Steininger, “Andrea Geyer, Galerie T-19,” Artmagazine, Vienna, Austria

Susanne Rohringer, “Die Konstruktion der Weiblichkeit,” ORF, online, Vienna, Austria

Maryam Jafri, “Cambio de Lugar_Change of Place,” Writers Project, PS1, Long Island City, NY

Kimberly Lamm,”Translating the Question of Feminism: Cambio de Lugar, Change of Place,” Writers Project, PS1, Long Island City, NY

Public Collections

Museum der Moderne, Salzburg, Austria

Collection of the Federal Republic of Germany

Neue Galerie, MHK, Kassel, Germany

Museo Jumex, Mexico City, Mexico

Art In General, New York, USA

Jewish Museum, NY, USA

Museum of Modern Art, New York, USA

Neue Galerie, New York, USA

Pérez Art Museum Miami, Florida, USA

San Fancisco Museum of Modern Art, San Francisco, California, USA

Whitney Museum of American Art, New York, USA

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