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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.
Born 1971 in Freiburg, Germany.
Lives and works in New York, USA.
Associate Professor of New Genres, Parsons The New School for Design, New York, USA
Professor, Malmö Art Academy, Malmö, Sweden
Whitney Independent Study Program, New York, USA
Diploma Fine Arts, Academy of Fine Arts, Braunschweig, Germany
Studied Photography/Film Design, Fachhochschule Bielefeld, Germany
Basic study painting, Independent Art Academy, Stuttgart, Germany
Guggenheim Fellowship, Fine Arts
Robert Rauschenberg Residency, Captiva Island, Florida
Creative Time Global Residency
Museum of Modern Arts Research Fellowship
Art Matters, Louis Comfort Tiffany Foundation Fellowship
Vera List Center for Arts and Politics Fellow
New York Foundation for the Arts, Artist Fellowship
Medienkunstpreis, Kunstadapter. Wiesbaden, Germany
Andrea Geyer: A Promise of Lightning, Leslie-Lohman Museum of Art, New York, NY, USA
Manifest, Gropius Bau, Berlin, Germany
Plein-air, Hales Gallery, New York, USA
Andrea Geyer. Shadows Nearby, Galerie Thomas Zander, Cologne, Germany
Andrea Geyer. On this day, Hales Gallery, New York, USA
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
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
Andrea Geyer. Truly Spun Never, Parque Galería, Mexico City, Mexico
Andrea Geyer. Travels on Slender Thread, The New Foundation, Seattle, USA
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
Andrea Geyer. Three Chants Modern, Portland Institute for Contemporary Art, Portland, Oregon, USA
Andrea Geyer. . Sound Giving Will Feeling, presented by A Space Gallery and the Images Festival, A Space Gallery, Toronto, Canada
Andrea Geyer. 9 Scripts from a Nation at War, Museum of Modern Art, New York, USA
Andrea Geyer. Comrades of Time, Galerie Thomas Zander, Cologne, Germany
Andrea Geyer. Criminal Case 40/61: Reverb. Siskel Film Center, Chicago, Illinois, USA (screening)
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
Andrea Geyer | Sharon Hayes. Kunstmuseum St. Gallen. St. Gallen, Switzerland
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
Andrea Geyer. Spiral Lands. A reading. Free Space. Chelsea Hotel, New York, USA
Andrea Geyer. Citizenship: Changing Conditions. IASPIS, Stockholm, Sweden
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
Andrea Geyer, Secession, Vienna, Austria
Andrea Geyer. o.T., Raum für aktuelle Kunst, Luzern, Switzerland
Andrea Geyer. Ortswechsel. Plattformen und Galerie Paula Böttcher, Berlin, Germany
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
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
What Now? (Or Not Yet), Frances Lehman Loeb Art Center, Poughkeepsie, NY, USA
European Trails. Europäische Fotokünstlerinnen der Gegenwart, H2 – Zentrum für Gegenwartskunst, Augsburg, Germany
Disorienting Plans, Aronson Gallery, Parsons The New School, New York, NY, USA
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
BOOKS. An exhibition of books about art and art about books, Galerie Thomas Zander, Cologne, Germany
Emotion and Structure, Galerie Thomas Zander, Cologne, Germany
The Rest of History, Virginia MOCA, Virginia Beach, VA, USA
Could Be (An Arrow) A Reading of La Colección Jumex, Fundación Jumex, Mexico City, Mexico
Cast of Characters, The Bureau of General Services-Queer Division, New York, USA
VOICE = SURVIVAL, The 8th Floor, New York, USA
Photo Kinetics. Movement, Body & Light in the Collections, Museum der Moderne, Salzburg, Austria
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
Rewriting Histories, Fotografisk Center, Copenhagen, Denmark
Time / Image, Blaffer Art Museum, Houston, Texas, USA
Sebald Variations, Centre de Cultura Contemporània, Barcelona, Spain
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
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
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
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)
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
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
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
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
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
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
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
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
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
The Subject and Power (the lyrical voice), Central House of Artists, Moscow, Russia
Selections, LFL Gallery, New York, USA
Open Studio, Whitney Independent Study Program, New York, USA
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
A streetwalk named desire, Kunstraum Luzern, Luzern, Switzerland
Archive. Christchurch, New Zealand
Kunst-Preis der Sparkasse Recklinghausen, Recklinghausen, Germany
Hjem. Architecture Space, Gammeldock, Kopenhagen, Denmark
Kiosk. Downtown Artsfestival, New York. USA
Ulrike Feser, Andrea Geyer, Wolfgang Stahr. Galerie Conrads, Düsseldorf, Germany
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
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
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
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
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
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
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)
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
Artist and Influence. Conversation with Yvonne Rainer, Hatch-Billops Collection, New York, USA
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
Andrea Geyer: Dance in a Future with All Present. Edited by Alhena Katsof, Karen Kelly, Barbara Schroeder, Portland Institute of Contemporary Art, Oregon, USA
Hotchkiss, Sarah. “At SFMOMA, Andrea Geyer Taps into Founding Principles of the Museum,” KQED Arts (online), kqed.org, March, 7
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
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
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
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
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
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
To the Citizens. Serralves Museum. Porto, Portugal
29ª Bienal de São Paulo. São Paulo, Brazil
Bucharest Biennial 4 (curated by Felix Vogel), Bucharest, Romania
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
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
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
Regierungen, Paradiesische Handlungsräume, Secession, Vienna, Austria
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
The American Effect, Exhibition Catalogue, Whitney Museum of American Art, New York
Andrea Geyer, Secession, Vienna, Austria
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
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
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
Zander Galerie
Schönhauser Straße 8
50968 Cologne
Germany
Zander Galerie
6 Rue Jacob
75006 Paris
France
