Gallery News for Ghada Amer
Ghada Amer and Reza Farkhondeh: The Gardens Next Door
Ghada Amer and Reza Farkhondeh will exhibit together in The Gardens Next Door, Galeria Filomena Soares, Lisbon (9/16 – 11/6/10).The collaborative drawings of Amer and Farkhondeh continue to display the female figures that Amer sought out from the stylistic fantasy world of pornography. But now they are seductively bonded to Farkhondeh’s inner landscapes also fraught with erotic stirrings.
The sensual poses of the figures commanding the scene seduce the viewer into taking part in their intimacy, as they caress and arouse each other, unabashed and unrestrained. Yet equally provocative and sensual are the sexually-charged colors that surround these women imbued with femininity.
The Gardens Next Door is a stage in an ongoing search for beauty that stands in stark contrast to the personal reflections they convey with regard to multicultural constructs of gender and sexuality and the human condition. Everything has been rendered with a purpose and acts as a means of communicating an idea. Ghada Amer and Reza Farkhondeh tell us something – something that goes beyond rhetoric and the spoken word.
Various artists at the Smithsonian African Art Museum
Works by Ghada Amer, Ghada Amer & Reza Farkhondeh, David Goldblatt, William Kentridge, Sam Nhlengethwa, Mikhael Subotzky, Clive van den Berg, Diane Victor featured on Earth Matters: Land as Material and Metaphor in the Arts of Africa at the National Museum for African Art at Smithsonian Institution, Washington DC, USA. This was the first major exhibition and scholarly endeavor to comprehensively examine the rich relationship between African artists and the land upon which they live, work, and frame their days.
Ghada Amer and Adam Broomberg & Oliver Chanarin in Qatar
Ghada Amer and Adam Broomberg & Oliver Chanarin are exhibiting work on Tea with Nefertiti The Making of the Artwork by the Artist, the Museum and the Public at Mathaf: Arab Museum of Modern Art in Doha, Qatar. The exhibition explores how an artwork can acquire numerous meanings and functions that can embody a number of diverse narratives. It departs from an excavation of the contested histories by which Egyptian collections have been amassed in international museums from the 19th century onwards. The exhibition runs from 17 November 2012 – 31 March 2013.
In Context at Iziko National Gallery
In Context was originally conceived by the Goodman Gallery as a series of site-specific exhibitions and interventions in and around Johannesburg over the period of the FIFA World Cup in June 2010. The exhibition travels to Cape Town and will be presented at Iziko South African National Gallery as a single and cohesive exhibition. Curated by Liza Essers, the exhibition will present work by a diverse group of international and South African artists who explore the dynamics and tensions of place, in reference to the African continent and its varied and complex iterations, and to South Africa in particular. The works – wide-ranging, frequently provocative – engage with a number of pressing questions about space, context, and geography.
This installment of In Context features work by Ghada Amer, El Anatsui, Joël Andrianomearisoa, Kader Attia, Candice Breitz, Loris Cecchini, Mounir Fatmi, Jenny Holzer, Robin Rhode, Yinka Shonibare, Mikhael Subotzky & Patrick Waterhouse, Hank Willis Thomas and Kara Walker.
The exhibition runs from 27 November 2010–13 March 2011. For more information visit www.iziko.org.za or call +27 (0)21 467 4673.
Goodman Gallery Johannesburg is pleased to present No Romance, a three person-exhibition featuring individual works by Ghada Amer, Reza Farkhondeh and collaborative work by the two artists.
Ghada Amer and Reza Farkhondeh met in art school in Nice in 1988. They both moved to New York in 1996 where they established studios in Harlem. The collaborative works between Amer and Farkhondeh started by accident in the early 2000s. “I began to paint on canvasses that Ghada was preparing for her work,” explained Farkhondeh in an interview with Martine Antle in the catalogue for The Gardens Next Door at Galeria Filomena Soares in Lisbon, 2010. “I would apply acrylic paint using masking tape. That was the beginning of new experimentation and of new discoveries… A little later I began to [make] watercolours and this time Ghada intervened on them… And gradually we created together a body of works on paper… One of the secrets is coming to appreciate sharing territory without destroying harmony and not thinking of establishing one’s ego as the sole winner in the collaborative work.” Their collaborative process involves passing the drawings back and forth until each artist is creatively satisfied. The show at Goodman Gallery presents a sampling of several series that the two artists have developed since 2005, including three large new works on paper. Women and nature are the themes of their collaborations.
Amer was born in Cairo, Egypt. She graduated from Villa Arson in Nice, France with an MFA in painting in 1989. For over 20 years Amer has been producing works that are profoundly linked to an aesthetic language specific to women. She chooses needle and thread as her medium to question the classifications of sexuality, beauty, gender and domesticity. “What interests me,” explained Amer in the exhibition catalogue for her show in Brétigny-sur-Orge in 1994, “is the idea of a ‘model to be followed’, and in life we are confronted with these everywhere; from birth one is shown how one must live; one is educated this way, one grows up and follows the model imposed on us. All my work revolves around the idea of ‘a model’.” Amer’s individual contribution to No Romance is a new series of embroidered paintings and a sculpture: 100 words of love – an amorphous, spherical and hollow work, displaying carved out synonyms for the word ”love” in Arabic.
Farkhondeh was born in Iran and graduated with an MFA in video/short film from Villa Arson in 1991. For 20 years Farkhondeh has been developing videos, short films and paintings that deal with lyrical expression within the context of ever-changing cultural differences between Western and Middle Eastern civilisations. From 1991 to 1998, Farkhondeh focused on a series of paintings he calls “99 cents” objects. “The dollar store is so cheap, so real and so present that I could not resist the temptation to paint the objects within it, the discounted objects of our contemporary life,” commented Farkhondeh in the catalogue for his 2004 exhibition at La Chapelle Sainte Elizabeth. In 2001, Farkhondeh started to paint and draw landscapes experimenting with a vast range of techniques and often layering them with stripes of masking tape. These paintings, he explains, evoke “separation, uprooting, wandering, the idea of a landscape that has been cut up and then reassembled through different layers…" Farkhondeh’s individual contribution to No Romance is a new series of paintings under the title of “Broken Landscapes”. These paintings, while they examine nature as the main subject, offer a journey over poetic, social and political landscapes of our time.
Goodman Gallery Johannesburg
Johannesburg Art Gallery
17 November 2016 – 17 December 2017
ruby onyinyechi amanze / Ghada Amer / Kajahl / Stan Douglas / Brendan Fernandes / Theaster Gates / Eric
Gottesman / Lyle Ashton Harris / Alfredo Jaar / Ayana V Jackson / Rashid Johnson / Julie Mehretu / Wangechi Mutu / Paulo Nazareth / Odili Donald Odita / Dawit L. Petros / Valerie Piraino / Daapo Reo / Tabita Rezaire / Mikhael Subotzky / Carrie Mae Weems / Kehinde Wiley
As part of its ongoing In Context series, Goodman Gallery is pleased to announce the forthcoming exhibition Africans in America and the concurrent academic conference Black Portraiture[s] III: Reinventions: Strains of Histories and Cultures, along with a series of events happening throughout Johannesburg. The citywide initiative will take place from November 2016 through January 2017.
In 2010, Goodman Gallery director Liza Essers launched In Context, an innovative curatorial platform to bring together a diverse group of international artists who share a rigorous commitment to the dynamics and tensions of place in reference to the African continent. A signature programme within the gallery, In Context activates the city of Johannesburg as a locus of contemporary art practice, ideas and discourses. In Context takes place in Johannesburg in the absence of an officially funded citywide biennial. Goodman Gallery takes great pleasure in facilitating the exhibition Africans in America and spearheading the Black Portraiture[s] III conference. These events play a vital part in addressing gaps in art history, rewriting it from diverse perspectives, a central pursuit within the In Context series.
Conceptualised and curated by artist Hank Willis Thomas and Liza Essers, Africans in America aims to speak to the flows, exchanges and continuities between the continent of Africa and the United States. The exhibition will take place across two spaces in the city, Goodman Gallery in Parkwood and the Johannesburg Art Gallery. Artists featured include Ghada Amer, Theaster Gates, Alfredo Jaar, Julie Mehretu, Wangechi Mutu, Odili Donald Odita and Kehinde Wiley, amongst others.
The exhibition is aligned to the important Black Portraiture[s] III initiative convened by Deborah Willis (New York University), Henry Louis Gates III (Harvard University) and Brett Pyper (University of Witwatersrand). The seventh in a series of conversations about imaging the black body, the 2016 edition is the first to be held on the African continent. The conference, which has attracted an impressive list of international panelists, opens up a forum for artists, activists and scholars from around the world to share ideas on a range of subjects, from historical topics to current research on South African art and activism and related themes affecting the global African diaspora.
Hank Willis Thomas has been represented by Goodman Gallery South Africa since 2008. Africans in America is the second exhibition he has curated for the gallery. He has become recognised for challenging constructions of race and gender in the United States and South Africa. His art has consistently extended dialogues on African and diaspora identities into significant international arenas, and his important work in South Africa has keyed into local history while driving new visions in the post-apartheid context.
In Context 2016 is a partnership between Goodman Gallery; The Department of Photography & Imaging at the Tisch School of the Arts, New York University; Hutchins Center for African and African American Research at Harvard University; Wits School of Arts at University of the Witwatersrand; United States Mission to South Africa; La Pietra Dialogues/ New York University; New York University Vice Provost for Faculty, Arts, Humanities and Diversity; and Hank Willis Thomas Studio, in association with Phillips; Museum of Contemporary African Diasporan Arts; Studio Museum in Harlem; Wiser Institute; Center for African American Studies/ Princeton University; Johannesburg Art Gallery; Contemporary And, and Art Africa.
Goodman Gallery Johannesburg
4 June – 6 August 2016
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery’s history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery’s history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery’s ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world’s most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery’s programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery’s transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
Goodman Gallery Cape Town
23 May – 18 July 2015
ruby onyinyechi amanze, Ghada Amer, Candice Breitz, Virginia Chihota, Ivy Chemutai Ng’ok, Otobong Nkanga, Nkiru Oparah, Tracey Rose, Adejoke Tugbiyele, Mickalene Thomas, Kara Walker, Arlene Wandera, Ellen Gallagher
Speaking Back seeks to reveal deeply significant dimensions of culture and subjectivity, history and struggle, by bringing women together as diverse artists to find out what each in her artistically signified yet gendered/racial/sexual/cultural singularity is offering to the world, to us all. It seeks to attain a more complete knowledge of that world, as it is lived, from multiple positions over time and space.
We have a tendency in exhibitions of work by women to generalise the artists as merely exemplars of a gendered collective: women, a sexualising nomination by which they are, as a category lumped together, their singularity annulled. While the exhibition makes space – conceptually and physically – for women artists, it embraces the potential of aesthetic practice to bring forward the singularity of each person and the variations in her specific symbolic capacities. If there are any generalisations to be made, it could be said that Speaking Back, prioritises narration – the use of particularly chosen aesthetic practices to convey a story to an audience. Not just as storytelling, but as speaking authentically, with vulnerability and strength, about who we are, and about the power of narration and its endless possibilities for reinvention.
Presented for the first time in South Africa, Ellen Gallagher is an acclaimed artist who, starting in the mid-1990s, has united various media with a range of subject matter to explore the place, and places, of African Americans. In Odalisque (2005), one of the artworks in the exhibition, Gallagher takes a photograph by Man Ray of Matisse, substitutes Freud’s head for that of Matisse’s and gives the model who is being drawn (and whose dress suggests that she is from that most sexualised and most sexually unequal context, the harem) the artists own face. Like the artist staring back at him from a reclining body, we confront the image of a great narrator of the universal psychic world attempting – it would appear with some awkwardness – to draw, and hence represent, an individual reality. Odalisque prompts us to consider what we can and cannot represent about others and ourselves.
In another instance, Virginia Chihota’s stunning screen prints urge us to reconsider not only the lives and strategies of individual artists but also the circumstances in which African diasporic female identity, visibility, and history have been produced and transformed. Her obsessive re-exploration of themes, such as, marriage and motherhood is transformed into a body of works that is striking in its symbolic resonance, and rife with allusions to everyday life, and religious and folkloric symbolism. In the series, root of the flower we do not know (mudzi weruva ratisingazive, 2014) our encounter with Chihota is dominated by the black female figure she insistently imagines, demonstrating a method of representing the self differently while exercising her right and desire to confirm and consolidate her identity as artist and her experience as female.
Adejoke Tugbiyele’s multimedia aesthetic practice offers a different take on sexual identity and political freedom –an issue all too familiar to South African audiences through the work of local artists and political activists. Tugbiyele is an emerging Nigerian-American artist and activist who spent her formative years growing up in Lagos, Nigeria. Her series of drawings, inspired by the journalistic fervour in Lagos during the passing of Nigeria’s anti-gay laws in 2014, draws attention to the self-righteous moralising inherent in contemporary media narratives surrounding the bill and her conceptual sculpture, Unpray the Flesh (2013) investigates religious complicity in the persecution of marginalised groups through the conjoining of religious symbolism with phallocentric worship. In AfroOdyssey V: Demons Contained, a performative video piece, Tugbiyele delves into her own sexual identifications and the narrative ramifications of ‘coming out,’ for familial and cultural histories.
New York-based artist Mickalene Thomas is best known for her elaborate paintings composed of rhinestones, acrylic and enamel which articulate complex visions of what it means to be a woman and expands stereotypical definitions of beauty. Her film about her mother, former fashion model Sandra Bush, demonstrates her ongoing engagement with portraiture as a key to personal and cultural identity. In the process of this extraordinary film, Thomas reveals the complex role of the mother-daughter bond for each woman’s sense of self. Internationally renowned, Otobong Nkanga employs traces of memory and human activity as the sounding board for narration and ‘the performative’ in her work that negotiate the cycle of art between the aesthetic realm of display and a strategies of de-sublimation that push the status of the artwork as contingency. In her artist book, No Be One Story O! (2010) Nkanga makes a radical artistic departure into the realm of literature itself. Based on a series of earlier drawings, Filtered Memories that represent select childhood and adolescent memories of the artist, the book explores the consequences of memory and, simultaneously, the defamiliarisation of the art object.
Speaking Back suggests and invites an encounter with expanded methods of cultural inquiry and the heterogeneity and creativity of contemporary art in the work of the above-mentioned artists as well as that of Ruby Onyinyechi Amanze, Ghada Amer, Candice Breitz, Tracy Rose, Ivy Chemutai Ng’ok, Nkiru Oparah, Kara Walker, and Arlene Wandera.
“I am only interested in what’s not mine. The law of men. The law of the cannibal.” – Oswald de Andrade, from The Cannibal Manifesto, 1928
Eat Me has not much to do with food. Instead it explores relationships between works by artists that mine recent art history and popular culture, through cannibalistic processes of referentiality and consumption to uncover new directions and meanings, either critically or aesthetically. In theoretical explorations by art historian Paulo Herkenhoff and Augustus Klotz, cannibalism is seen as a philosophical process of renewal and regeneration, as well as a form of cultural emancipation.
The show brings together works by South African and international artists to discover the ways in which visual culture is harvested, consumed and given new form. Violence, suffering and eroticism are collapsed and digested to bring forth new visual discourses, and perhaps new ways of seeing.
Reza Aramesh uses familiar scenes from news footage to restage, reclaim and re-represent events and identities we think we understand. Adam Broomberg and Oliver Chanarin recycle archival photographs from the conflict in Northern Ireland to make way for new readings and new narratives. Frances Goodman, Ghada Amer, Mickalene Thomas and Joel Andrio use the language and imagery of romance and sex to push against the constraints of popular culture and undermine its hold on our imagination.
Eat Me also features new work by Hank Willis Thomas, video installations by Tracey Rose, Sigalit Landau and Kalup Linzy, and works by Gavin Turk and Kendell Geers. While the ingredients and methods differ, the resulting works all share a concern with the problems and processes of consumption, reclamation and renewal.
This winter the Goodman Gallery will relaunch its Parkwood space, which has been extensively reconsidered, both physically and conceptually. This launch will be initiated with a group exhibition simply titled Winter Show, featuring a range of luminary-status local and international artists. The show will not only present recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, but will also reveal a shift in the Gallery’s approach, showcasing work from around the Continent and beyond that is both explicitly and implicitly concerned with synergies and tensions between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer and Hank Willis Thomas, are not only being showcased by the Goodman Gallery, but are now officially represented by us.
The Winter Show will act as a confluence of the Goodman Gallery’s top represented artists, as well as artists participating in In Context – a series of exhibitions and interventions currently taking place at Arts on Main and other venues in Johannesburg. Artists such as Jenny Holzer, Amer, Willis Thomas, Bili Bidjocka, Willem Boshoff and Kara Walker will participate in both shows, with the Winter Show presenting some of their more recent work. While In Context manifests an intimate and often candid exploration of the dynamics of the African continent, the Winter Show will offer a broader conceptual platform, covering many aspects of South African, African and global landscapes and conditions.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, intricately considering the question of ‘who has the right to represent whom?’ Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. In Context magnifies these issues, while the Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include two of Walker’s 2009 films – which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – presenting the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements. Jenny Holzer’s Purple Red Curve (2005) transmits a coalescence of master narratives through a curved electronic LED sign. Jeremy Wafer will create a site-specific wall drawing in the Goodman Gallery specifically for the show. Kentridge will present a series of new drawings produced this year as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx. A large scale, steel version of this work will be launched at the Apartheid Museum on 8 July 2010 as part of In Context. The Winter Show will also feature an ongoing screening of all of the Goodman Gallery’s top art films by leading artists such as Kentridge and Vári.
The Goodman Gallery in Parkwood has undergone numerous physical transformations and now boasts a new showroom and a space dedicated to photographic works. We are in the process of establishing an art library accessible to the visiting public and will offer a range of educational art talks and events during the Winter Show.
With Goodman Gallery firmly established as a prestigious, world-class contemporary art institution, the Winter Show will reveal how the Gallery – beyond representing artists of the highest caliber – is dedicated to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced locally and abroad.
Ghada Amer (b. 1963, Cairo, Egypt) views herself primarily as a painter, but she has worked in a variety of media, producing ceramics, site-specific garden works, photographs, prints, drawings, installations, and performance pieces.
Her work has always explored ideas related to women, femininity, and gender roles. ‘I believe that all women should like their bodies and use them as tools of seduction,’ Amer stated; and in her well-known erotic embroideries, she at once rejects oppressive laws set in place to govern women’s attitudes toward their bodies and repudiates first-wave feminist theory that the body must be denied to prevent victimisation. By depicting explicit sexual acts with the delicacy of needle and thread, their significance assumes a tenderness absent within simple objectification. Amer continuously allows herself to explore the dichotomies of an uneasy world and confronts the language of hostility and finality with unsettled narratives of longing and love.
Amer’s work addresses first and foremost the ambiguous, transitory nature of the paradox that arises when searching for concrete definitions of east and west, feminine and masculine, art and craft. Through her paintings, sculptures and public garden projects, Amer takes traditional notions of cultural identity, abstraction, and religious fundamentalism and turns them on their heads.
She has also created a number of text-based works, most notably the installation piece Encyclopaedia of Pleasure, which comprises fifty-seven canvas boxes inscribed with embroidered texts serving as investigations of sexual and spiritual identity. While her works serve as commentary on the roles of women, they also offer a critique of painting itself, particularly in its largely masculine Abstract Expressionist mode. Her incorporation of thread into the parameters of the canvas legitimates a form of expression seen as particularly feminine.
Amer has shown her work all over the world, including the Istanbul, Johannesburg, Whitney, Gwangju, Sydney and Venice biennales; in major travelling shows such as The Short Century; Looking Both Ways: Art of the Contemporary African Diaspora; and Africa Remix. She has exhibited at P.S. 1 in New York and SITE Santa Fe, and in 2008 the Brooklyn Museum hosted Love Has no End, a retrospective of twenty years of Amer’s work.
Amer trained to be an artist at Villa Arson, Nice, France.
She currently lives and works in New York City.2015 Earth. Love. Fire, Leila Heller Gallery, Dubai, UAE
2014 Ghada Amer, Rainbow Girls, Cheim & Read, New York City, USA
2013 Ghada Amer: Référence à Elle , Kukje Gallery, Seoul, South Korea
2012 The Other I Tina Kim Gallery, New York City, USA
2012 Ghada Amer , Musee d’Art Contemporain de Montreal, Montreal, Canada
2011 100 Words of Love , Cheim & Read, New York, USA
2011 No Romance, Goodman Gallery, Johannesburg, South Africa
2010 Ghada Amer and Reza Farkhondeh: The Gardens Next Door , Galeria Filomena Soares, Lisbon, Portugal
2010 Ghada Amer: Color Misbehavior , Cheim & Read, New York, USA
2009 Ghada Amer: Failing Shahrazad , Dirimart, Istanbul, Turkey
2009 Ghada Amer and Reza Farkhondeh: Roses Off Limits , Pace Prints Chelsea, New York, USA
2008 Ghada Amer and Reza Farkhondeh: Collaborative Drawings , Tina Kim Fine Arts, New York, USA
2008 Ghada Amer – Reza Farkhondeh: A new Collaboration on Paper , Singapore Tyler Institute, Singapore
2008 Ghada Amer: Love Has No End , Elisabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York, USA
2007 Ghada Amer & Reza Farkhondeh, Collaborative Drawings , Kukje Gallery, Seoul, Korea
2007 Ghada Amer, Another Spring , Seoul, Korea
2007 Ghada Amer (curated by D. Eccher), Museo d’Arte Contemporanea Roma, MACRO, Rome, Italy
2007 Ghada Amer & Reza Farkhondeh – An Indigestible Dessert , Francesca Minini Gallery, Milan, Italy
2007 Le Salon Courbé , Francesca Minini, Milan, Italy
2007 Ghada Amer , Franklin Art Works, Minneapolis, USA
2006 Ghada Amer: Paintings & RFGA Drawings (curated by J. Poodt), The Stedlijk Museum, ‘S-Hertogenbosch, Netherlands (7/1-12/12)
2006 Ghada Amer, Breathe Into Me , Gagosian Gallery, Chelsea, New York, USA
2005 Ghada Amer (curated by R. Smith), H&R Block Artspace at Kansas City Art Institute, Kansas City, MO, USA
2005 The Reign of Terror (curated by Anja Chávez), Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, USA
2004 Ghada Amer , Gagosian Gallery, Beverly Hills, USA
2004 Ghada Amer , (curated by Teresa Millet), Institut Valencià d’Art Modern, September 9-November 7, Valencia, Spain
2003 Forefront 45: Ghada Amer (curated by L.D. Freiman), Indianapolis Museum of Art, Indianapolis, IN, USA
2003 Ghada Amer , Galleria Massimo Minini, Brescia, Italy
2003 Universal Strangers , (curated by Rosa Martinez), Galeria Filomena Soares, Lisbon, Portugal
2002 Ghada Amer , Gagosian Gallery, London, UK
2002 Ghada Amer (curated by S. Bos), De Appel Foundation, Amsterdam, Netherlands
2002 Works by Ghada Amer , San Francisco Art Institute, San Francisco, USA
2002 Ghada Amer , Galerie Guy Bärtschi, Geneva, Switzerland
2001 Encyclopedia of Pleasure , Deitch Projects, New York, USA
2001 Reading Between the Threads (curated by Selene Wendt), Henie-Onstad Kunstsenter, Oslo, Norway
2001 Reading Between the Threads , Kunst Palast, Sweden
2001 Ghada Amer: Pleasure (curated by Valerie Cassel), Contemporary Art Museum, Houston, USA
2001 Ghada Amer Recent Work , Rhona Hoffman Gallery, Chicago, IL, USA
2001 Ghada Amer Recent Work , Düsseldorf, Germany
2001 Ghada Amer Recent Work , Bildmuseet, University of Umeå, Umeå, Sweden
2000 Ghada Amer (curated by A.J. Laferrière), Centre Culturel Contemporain (C.C.C.), Tours, France
2000 Ghada Amer Drawings , Anadil Gallery, Jerusalem, Israel
2000 Intimate Confessions , Deitch Projects, New York, USA
2000 Intimate Confessions , Tel Aviv Museum of Art, Tel Aviv, Israel
2000 Intimate Confessions , Kunst-Werke, Berlin, Germany
2000 Ghada Amer, University of Wisconsin Institute of Visual Arts, Milwaukee, WI, USA (3/10-5/21)
1999 Ghada Amer (curated by Margarita Aizpuru), Centro Andaluz de Arte Contemporáneo, Seville, Spain
1999 Ghada Amer , Brownstone, Corréard & Cie, Paris, France
1999 The Freedom Salon , Project Room, Deitch Projects, ARCO, Madrid, Spain
1998 Ghada Amer , Espace Karim Francis, November 3-25, Cairo, Egypt
1998 Ghada Amer , Galerie Karin Sachs, Munich, Germany
1998 Ghada Amer , Galerie Brownstone, Corréard & Cie, Basel Art Fair, Basel, Switzerland
1998 Ghada Amer , Annina Nosei Gallery, New York, USA
1997 Ghada Amer , Galerie Météo, Paris, France
1997 Ghada Amer , Espace Karim Francis, Cairo, Egypt
1996 Ghada Amer , Hanes Art Center, University of North Carolina, Chapel Hill, NC, USA
1996 Ghada Amer , Annina Nosei Gallery, New York, USA
1994 Ghada Amer , Centre Jules Verne, Brétigny-sur-Orge, France
1994 Ghada Amer , Zoo Galérie, Nantes, France
1993 Ghada Amer , Galerie Météo, Paris, France
1992 Ghada Amer , Hôpital Ephémère, Paris, France
1992 Ghada Amer (curated by Barbara Fässler), Projekt Raum, Zürich, Switzerland
1990 Ghada Amer , Villa Arson, Nice, France
2016 In Context: Africans In America, Goodman Gallery, Johannesburg, South Africa
2016 New Revolutions: Goodman Gallery at 50 , Goodman Gallery, Johannesburg, South Africa
2016 Killer Heels: The Art of the High-Heeled Shoe, The Frick, Pittsburgh, USA
2015 Speaking Back, Goodman Gallery, Cape Town, South Africa
2015 The Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists, Smithsonian National Museum of African Art, Washington DC, USA
2014-2015 The Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists, SCAD Museum of Art, Savannah, USA
2014-2015 Killer Heels: The Art of the High-Heeled Shoe, Brooklyn Museum, New York City, USA
2014 Slow Learner, Timothy Taylor Gallery, London, UK
2014 The Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists, Museum fur Kunst, Frankfurt, Germany
2013 Earth Matters , National Museum for African Art, Smithsonian Institution, Washington DC, USA
2013 Sculptrices , Villa Datris, Fondation pour la Sculpture Contemporaine, L’Isle-sur-Sorgue, France
2012 Prism – Drawing from 1990-2011 , The National Museum of Art, Architecture and Design, Oslo, Norway
2012 Le Corps Découvert , Institut du Monde Arabe, Paris, France
2012 The Mediterranean Approach , SESC Pinheiros, São Paolo, Brazil
2012 Tea For Nefertiti, Arab Museum of Doha, Qatar, UAE
2012 Tea For Nefertiti, Institut du Monde Arabe, Paris, France
2011 The Women in Our Life: A Fifteen Year Anniversary Exhibition , Cheim and Read, New York, USA
2011 Of Women’s Modesty and Anger , Boghossian Foundation, Villa Empain, Brussels, Belgium
2011 No Romance, Ghada Amer, Reza Farkondeh & Collaborative Work, Goodman Gallery, Johannesburg, South Africa
2011 The Unbearable Lightness of Being , Galerie Yvon Lambert, Paris, France
2011 TOLD/ UNTOLD/ RETOLD , Mathaf Arab Museum of Modern Art, Doha, Qatar
2010 In Context: A 2010 Initiative , Goodman Gallery, Johannesburg, South Africa
2010 Here She Comes: Prspective on Women in Contemporary Art, Galerie Michael Kewenig, Cologne, Germany
2010 Residua, Maraya Art Centre, Sharjah, UAE
2010 Untold, Retold, The Arab Museum of Modern Art, Doha, Qatar, UAE
2010 Until Now: Collecting the New (1960-2010) , Minneapolis Institute of Arts, Minneapolis, USA
2010 I Love You! , ARoS Aarhus Kunstmuseum, Aarhus, Denmark
2010 185th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, USA
2010 Wild is the Wind , Gustein Gallery, Savannah College of Art and Design,
Savannah, Georgia, USA
2009 In Stitches , curated by Beth Rudin DeWoody, Leila Taghinia-Milani Heller Gallery, New York, USA
2009 Elles @ centrepompidou, (curated by Camille Morineau), Centre Georges Pompidou, Paris France
2009 III Moscow Biennale; Against Exclusion , curated by Jean-Huber Martin, Dasha Zhukova’s Garage Center for Contemporary Culture, Moscow, Russia
2009 Abstractions by Gallery Artists , Cheim & Read, New York, USA
2009 The Female Gaze: Women Look At Women , Cheim & Read, New York, USA
2008 Prospect 1 , Contemporary Arts Center, New Orleans, USA
2008 Demons, Yarnes & Tales, Tapestry by Contemporary Artists , (curated by Banners of Persuasion), London, UK. Travelling exhibition to: Miami, USA
2008 The Future Must Be Sweet: The Lower East Side Printshop Celebrates 40 Years (curated by Marilyn S. Kushner), International Print Center, New York, USA
2008 Valeurs Croisées , Biennale d’Art Contemporain, Rennes, France
2008 Pandora’s Box , Dunlop Art Gallery, Regina, Canada
2008 Far From Home , North Carolina Museum of Arts, North Carolina, USA
2007 Pricked: Extreme Embroidery , Museum of Art and Design, New York, USA
2007 Alles Klar ? Zeitgenössische Kunst aus Ägypten , Salzburger Kunstverein, Salzburg, Austria
2007 Dialogues Méditerranéens , (curated by Susanne Van Hagen), St. Tropez, France
2007 Afterglow , (curated by Laurie Farell and Celina Jeffrey), Savannah Art and Design, Lacoste, France
2007 Substance and Surface , Bortolami Gallery, New York, USA
2007 Reconstruction # 2 , Sudely Castle Winchombe, Gloucestershire, UK
2007 La Biennale di Venizia 52nd, Checklist, Luanda Pop (curated by Fernando Alvim & Simon Njami, Africa Pavillion, Arsenale, Venice, Italy
2007 Commemorating 30 years: Part Three , Rhona Hoffman Gallery, Chicago, USA
2007 Inscribing Meaning , National Museum of African Art, Washington, D.C., USA
2007 Inscribing Meaning , UCLA Fowler Museum of Cultural History, Los Angeles, USA
2007 Gender Stitchery: Artist Knit/Sew Art , (curated by Laurel Bradley), Carleton College, Northfield, Minnesota, USA
2007 Global Feminisims , (curated by Maura Reilly and Linda Nochlin), Brooklyn Museum, New York, USA
2007 Global Feminisims, Wellesley College, Wellesley, MA, USA
2007 What F word ? (curated by Carol Cole Levin), Cynthia Broan Gallery, New York, USA
2007 Collective One, Guy Bärtschi Gallery, Geneva, Switzerland
2006 Hot Off the Press: Prints of 2006 from New York Printshops , (curated by Janice Carlson Oresman), The Grolier Club, New York, USA
2006 Kitaj: Little Pictures , Marlborough Fine Art, London, UK
2006 Showcase for Contemporary Works on Paper , INK Miami, Miam, USAi
2006 Insolence , Maison Guerlain, Paris, France
2006 Grand Promenade , (curated by A. Kafetsi), National Museum of
Contemporary Art, Athens, Greece
2006 Reconstruction #1 , (curated by Mollie Dent-Brocklehurst & Elliot McDonald), Sudeley Castle, Gloucestershire, UK
2006 Zones of Contact , Biennial of Sydney, Sydney, Australia
2006 Word into Art , British Museum, London, UK
2006 La Force de l’Art , Paris Triennial, Grand Palais, Paris, France
2006 The Garden Party , Deitch Projects, New York, USA
2006 Without Boundary, Seventeen Ways of Looking , (curated by F. Daftari), Museum of Modern Art, New York, USA
2006 Threads of Memory , (curated by Margaret Matthews-Berenton), Dorsky Gallery, Long Island City, NY, USA
2006 C’era una Volta un Re. La Fiaba Contemporanea , (curated by D. Denegri), ARCOS, Museo d’Arte Contemporanea Sannio, Benevento, Italy
2006 Soie, Centre d’Art Contemporain Le Rectangle, Lyon, France
2005 Donna Donne. Uno Sguardo sul Feminile nell’arte Contemporanea , (curated by Adelina von Fürstenberg), Palazzo Strozzi, Florence, Italy
2005 Centre of Gravity (curated by Rosa Martinez), Istanbul Modern, Istanbul, Turkey
2005 Hanging by a Thread , Moore Space, Miami, FL, USA
2005 Here Comes the Sun (curated by Daniel Birnbaum, Rosa Martinez, Jerome Sans and Sarit Shapira), Magasin 3, Stocholm Konsthall, Stockholm, Sweden
2005 Fairy Tales Forever: International Homage to H.C. Andersen , AroS Aarhus Kunstmuseum, Copenhagen, Denmark
2005 Down the Garden Path , (curated by Valerie Smith), Queens Museum of Art, Queens, NY, USA
2005 Vertigo (curated by Mollie Dent-Brocklehurst) Sudeley Castle, Gloucestershire, UK
2005 Always a Little Further (curated by Rosa Martinez), 51st International Venice Biennial, Venice, Italy
2005 Identità & Nomadismo , Palazzo delle Papesse Centro Arte Contemporanea, Siena, Italy
2005 Works on Paper , Gagosian Gallery, Beverly Hills, CA, USA
2005 Femmes , Musée de Carouge, Carouge, Switzerland. Travelled to: Florence (9/05), and to Brussels, Belgium, 2006.
2005 TEXTures: Word and Symbol in Contemporary African Art , National Museum of African Art, Washington, D.C., USA
2005 Confluence (curated by Jennifer Gately), Sun Valley Center for the Arts, Sun Valley, USA
2004 Deitch Projects at Art Basel Miami Beach, Miami, USA
2004 De Leur Temps, les Collections Privées Françaises , (curated by Evelyne Dorothée Allemand and Michel Poitevin), Musée des Beaux-Arts, Tourcoing, France
2004 Freedom Salon , Imagine Festival of Arts, Issues & Ideas, Deitch Projects, New York, USA
2004 Africa Remix , (curated by Jean-Hubert Martin), (through 2006), Museum Kunst Palast, Düsseldorf, Germany
2004 Africa Remix , Hayward Gallery, February 10-April 17 2005, London, UK
2004 Africa Remix , Centre Georges Pompidou, Paris, France
2004 Africa Remix , Mori Art Museum, Tokyo, Japan
2004 Africa Remix , Moderna Museet, Stockholm, Sweden
2004 Monument to Now , Deste Foundation, Athens, Greece
2004 Periplo del Mediterraneo , (curated by Maurizio Calvesi and Marisa Vescovo), Museo dell’Accademia Ligustica di Belli Arti e Loggia di Banchi o della Mercanzia, Genova, Italy (5/7-7/4)
2004 Hommage à Georges Pompidou: Parcours dans les Collections du Musée d’Art Moderne , Centre Pompidou, Paris, France (4/3-5/3)
2004 Ghada Amer, Shirazeh Houshiary, Sue Williams , Kukje Gallery, Seoul, South Korea
2004 Kunst Stoff , (curated by Elisabeth von Samsonow and Rosemarie Schwarzwälder), Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria
2004 Beyond East and West: Seven Transnational Artists (curated by David O’Brien and David Prochaska), Krannert Artmuseum, University of Illinois at Urbana-Champaign, Champaign, IL, USA
2004 Beyond East and West: Seven Transnational Artists , LSU Museum of Art, Baton Rouge, LA, USA
2004 Beyond East and West: Seven Transnational Artists , Hood Museum of Art, Dartmouth College, Hanover, NH, USA
2004 Beyond East and West: Seven Transnational Artists , Williams College Museum of Art, Williamstown, MA, USA
2004 Le Opere e i Giorni, La Vanitas , (curated by A. Bonito Oliva), Certosa di Sab Lorenzo, Padula, Italy.
2004 L’Ecriture, le Signe, le Motif , Diocèse du Puy en Velay, le Puy en Velay, France
2003 Looking Both Ways: Art of the Contemporary African Diaspora , (curated by Laurie Ann Farrell), Museum of African Art, Long Island City, NY, USA
2003 Looking Both Ways: Art of the Contemporary African Diaspora , Peabody Essex Museum, Salem, MA, USA
2003 Looking Both Ways: Art of the Contemporary African Diaspora , Cranbrook Academy of Art, Detroit, MI; City Art Centre, Edinburgh, Scotland
2003 Looking Both Ways: Art of the Contemporary African Diaspora , Museum of the African Diaspora, April 6-June 4, 2006, San Francisco, CA, USA
2003 Inscribing Meanings: African Arts of Communication , National Museum of African Art, Smithsonian Institution, Washington, DC, USA
2003 Rêverie: Works from the Collection of Douglas S. Cramer, Speed Art Museum, July 22-Oct 5 Louisville, KY, USA
2003 Corporal Identity-Body Language , 9th Triennial for Form and Content, (curated by Eric de Chassey; U. Ilse-Neuman; D. Revere; Mc Fadden; S. Runde; S. Soltek), Museum für Angewandte Kunst, Frankfurt & Klingspor Museum, Offenbach, Germany
2003 Corporal Identity-Body Language , Museum of Arts & Design, New York, USA
2003 Sites of Recurrence , Madras Craft Foundation, Dakshina Chitra, Chennai, India. Travelled to: Borås Konstmuseum, Borås, Sweden
2003 Il Racconto del Filo: Ricamo e cucito nell’arte contemporanea , (curated by F. Pasini; G. Verzotti), Museo di Arte Moderna e Contemporanea di Trento e Roverto, Roverto, Italy
2003 Feminine Persuasion: Contemporary Women’s Sexualities , School of Fine Arts Gallery and the Kinsey Institute of Research in Sex, Gender and Reproduction, Indiana University, Bloomington, IN, USA
2003 Aligned , Florence Lynch Gallery, New York, USA
2003 Harem Fantasies and the New Scheherazades , (curated by Rose Issa) Centro de Cultura Contemporanea de Barcelona, Barcelona, Spain
2002 Doble Filo (curated by Xabier Arakistain). Bilbao Arte, Bilbao, Spain
2002 Go Figure (curated by M. Steinberg; S. Stoyanov), Luxe Gallery, New York, USA
2002 Contemporary Art Project , Seattle Art Museum Downtown, Seattle, Washington, USA
2001 Best of 2001 , Loevenbruck Gallery, Paris, France
2001 Accrochage , Galerie Guy Bärtschi, Geneva, Switzerland
2001 Sous-Titrée X, la Pornographie entre Image et Propos , (curated by Ramon Tio Bellido, Ecole Supérieure des Beaux-Arts de Tours, Tours, France
2001 Mediterranean – the New Wall? , Culturgest, Lisbon, Portugal
2001 Unfolding Perspective, ARS 01 , (curated by T. Arkio; M. Jaukkuri; P. Nyberg, J. Vanhala), Finnish National Gallery, Helsinki, Finland
2001 Threads of Vision: Toward a New Feminine Poetics , (curated by Kristin Chambers), Cleveland Center for Contemporary Art, Cleveland, OH, USA
2001 Experiences , (curated by Rosa Martinez), Barcelona Art Report 2001 Triennial, Barcelona, Spain
2001 Uncommon Threads: Contemporary Artists Clothing, Herbert F. Johnson Museum of Art, Ithaca, NY, USA
2001 The Short Century , (curated by Okwui Enwezor) Museum Village Stuck, Munich, Germany
2001 The Short Century , Martin-Gropius-Bau, Berlin, Germany
2001 The Short Century , Museum of Contemporary Art, Chicago, Chicago, USA
2001 The Short Century , P.S. 1 and MoMA, Long Island City, NY, USA
2001 Heureux le Visionnaire , La Louvière : Centre de la Gravure, January 20–April 15, La Louvière, Belgium
2001 Art Through the Eye of the Needle , Henie-Onstad Kunstsenter, January 19- March 25, Oslo, Norway
2001 Entretejidos-Texturas: Arte Contemporeaneo y Artesania Frances , Museo des Artes de Lima, Peru
2001 Entretejidos-Texturas: Arte Contemporeaneo y Artesania Frances , Museo Nacional, Rio de Janerio, Brazil
2001 Entretejidos-Texturas: Arte Contemporeaneo y Artesania Frances , Centro Cultural Recoleta, Buenos Aires, Argentina
2000 Cross Female , (curated by B. Höffer, V. Schulte-Fischedick), Metaphern des Weiblichen inder Kunst Derguer Jahre, Berlin Jean-Hubert Martin, T. Prat, T. Raspail), Halle Tony Garnier, Lyon, France
2000 Fait-maison , Musée International des Arts Modestes, Sète, France
2000 Innuendo , Dee/Glasoe Gallery, New York, USA
2000 Partage d’Exotismes , 5th Biennale d’Art Contemporain de Lyon, (curated by Racines Musée Dauphinois, Grenoble, France
2000 Rooms and Secrets/Stanze e Segreti , (curated by Achille Bonito Oliva), Rotonda del Besana, Milan, Italy
2000 Man and Space , Kwangju Biennial 2000, (curated by René Block), Gwangju, South Korea
2000 Whitney Biennial , (curated by M. Lincoln Andersen), Whitney Museum of American Art, New York, USA
2000 Friends & Neighbors, EV+A 2000 , (curated by Rosa Martinez), Limerick City
Gallery of Art, Limerick, Ireland
2000 Greater New York: New Art in New York Now , P.S.1 Contemporary Art Center, Long Island City, NY, USA
2000 Leaving the Island , (curated Rosa Martinez), Pusan International Contemporary Art Festival 2000, Metropolitan Art Museum, Pusan, South Korea
2000 Continental Shift: A Journey between Cultures , African Artists in Europe, Ludwig Forum, Aachen, Germany
2000 Continental Shift: A Journey between Cultures , Bonnefanten Museum, Maastricht, Netherlands
2000 Continental Shift: A Journey between Cultures , Musée d’Art Moderne, Liège, France
2000 Continental Shift: A Journey between Cultures , Stadsgalerij Heerlen, Netherlands
1999 Radicalité dire les qualités , Galerie Brownstone & Corréard, Paris Corps Social (curated by Eric de Chassey), École Nationale Supérieure des Beaux-Arts, Paris, France
1999 Skin , (curated by Andrea Gilbert), DESTE Foundation Center for Contemporary Art Athens, Greece
1999 Looking for a Place , Third International Site Santa Fe Biennial, (curated by Rosa Martínez), Santa Fe, NM, USA
1999 APERTO Over All , 48th International Art Exhibition, (curated by Harold Szeeman), Biennale di Venezia, Italy (6/13-11/7)
1998 Mar de Fondo , (curated by Rosa Martinez), Teatre Romà de Sagunt, Valencia, Spain
1998 L’Un et l’Autre et Vice et Versa , Espace Paul Riquet, Béziers, France
1998 Loose Threads (curated by Lisa Corrin), Serpentine Gallery, London, UK
1998 The Edge of Awareness , (curated by Adelina von Furstenberg), World Health Organization Headquarters, Geneva, Switzerland
1998 The Edge of Awareness , UN Buliding & P.S. 1 Contemporary Art Center, New York, USA
1998 The Edge of Awareness , SESC Pompéia, Sao Paulo, Brazil
1998 The Edge of Awareness , WHO Regional Office/The Rabindra Bahvan Lalitkala Academy, New Delhi, India
1998 The Edge of Awareness , L’Entrelacement & l’Enveloppe Pratiques et Métaphores Textiles, Villa du Parc, Annemasse, France
1998 Métissages , Musée du Luxembourg, Luxembourg
1998 Métissages , Musée de Louviers, Belgium
1998 Métissages , Musée d’Art et d’Histoire de Saint-Brieuc, Château de Vogü., Ardèche, France
1998 Métissages , Espace Saint-Jacques; San Quentin, France
1998 Métissages , Musée d’Art et d’Histoire, Saint Brieuc, France
1998 Exposition de Groupe , Espace Louise Michel, Paris, France
1998 Echolot (curated by René Block), Museum Fridericianum, Kassel, Germany
1998 L’Envers du Décor, Dimensions Décoratives dans l’Art du XXème Siècle , Musée d’Art Moderne Lille Métropole, Villeneuve d’Ascq, France
1997 French Kiss , Contemporary Art Gallery, Vancouver, Canada
1997 Alternating Currents , 2nd Johannesburg Biennale, (curated by Okwui Enwezor and Octavio Zaya), Johannesburg, South Africa
1997 FIAC, Galerie Météo, Paris, France
1997 Produire, Créer, Collectionner , Caisse des Dépôts et Consignations, Paris, France
1997 Ici et Maintenant , Parc de la Villette, Paris, France
1997 Thread , Cristinerose Gallery, New York, USA
1997 Aamitiés et Autres Catastrophes , La Carte du Tendre. Le Crestet Centre d’Art, Le Crestet, France
1997 Art Basel, Galerie Météo, Basel, Switzerland
1997 What’s Next… On Canvas , Elga Wimmer, New York, USA
1997 Vraiment Feminisme et Art (curated by Laura Cottingham), Le Magasin Centre National d’Art Contemporain de Grenoble, Grenoble, France
1997 Ici et Maintenant (encore) , 13 Quai Voltaire, Paris, France
1997 Sous le Manteau , Galerie Thaddaeus Ropac, (curated by Caroline Smulders), Paris, France
1997 Heureux le Visionnaire… , Commande publique du CNAP, Maison Levanneur de l’Estampe et de l’Art Imprimé, Chatou, France (2/15-4/14)
1996 Le Bonheur de Vivre, ses Ravages sur l’Inconscient… , Galerie Météo, Paris, France
1996 Le Bonheur de Vivre, ses Ravages sur l’Inconscient… , Container ’96, Cultural Capital of Europe, January-December, Copenhagen, Denmark
1996 Ceremonial (curated by Barry Schwabsky), Apex Art Gallery, New York, USA
1996 Miniatures , Espace Karim Francis, Cairo, Egypt (5/28-6/18)
1996 The Sense of Order , (curated by Z. Badavinac), Moderne Galerija, Ljubljana, Slovenia
1996 Sans Regrets , Toxic New Art, Luxembourg
1996 Die Raüber der Strandguts , Kunstlerhaus Bethanien, Berlin, Germany
1996 Die Raüber der Strandguts , Institut Français, München, Germany
1995 Figures , Le Parvis, Tarbes, France
1995 Tampons d’artistes , Musée de la Poste, Paris, France
1995 Group Invitational Show , Annina Nosei Gallery, New York, USA
1995 Territoires Occupés/ Kunst Konversion , (curated by Béatrice Josse & Maximilian G. Van de Sand), FRAC Lorraine and Arge Kunst Südwestpfalz, Summer, France and Germany.
1995 Orient/ation, The Vision of Art in a Paradoxical World , 4th International Istanbul Biennial, (curated by René Block), Istanbul, Turkey
1995 Etrangères au Paradis , (curated by Michel Nuridsany), Le Monde de l’Art, Paris, France
1995 Pittura/Immedia (curated by Peter Weibel), Neue Galerie am Landesmuseum Joanneum, Graz, Austria
1995 The Mutated Painting , Galerie Martina Detterer, Frankfurt, Germany
1995 Le Duc sur un Noyau de Cerise et La Princesse au Petit Pois… , Friedenstein Castle Kunstverlag, Gotha, Germany and FRAC Auvergne, Villeneuve Lembron, France
1995 …Wie Gemalt , Kunstverein, Aachen, Germany Annina Nosei Gallery, New York, USA
1994 CAC , (curated by Catherine Arthus Bertrand), St. Léger, Pougues-les-Eaux, France
1994 Bifurcations , (through 1995), Travelled to: Abbaye Saint André, Meymac, France, Cimaise et Protique, and Musée de Dole, Dole, France
1994 Mété(vous)o-show , Galerie Météo, FIAC Paris, France
1994 Snark , cabinet des desseins, Galerie Pierre Nouvion, Monte-Carlo, Monaco
1993 June , (curated by Oliver Zahm), Galerie Thaddaeus Ropac, Paris, France
1993 The Armoire Show (curated by Hans Ulrich Obrist), Hôtel Carlton Palace, Paris, France
1993 SMGP2A , Galerie Barbier-Beltz, Galerie Météo, Paris, France
1992 37ème Salon de Montrouge, France
1992 Montrouge à Montbélliard , Musée de Montbélliard, France
1992 I Love Paris , Hôpital Ephémère, Paris, France
1992 Les Mystères de l’Auberge Espagnole , Villa Arson, Nice, France
1992 Une Rose est une Rose , Galerie Météo, Paris, France
1990 My Beautiful Lady , Villa Arson, Nice, France
2009 Artist-in-Residence, LeRoy Neiman Center for Print Studies, Columbia
University, New York (with Reza Farkhondeh)
2008 Artist-in-Residence, University of North Carolina, Chapel Hill, NC
2007 Smithsonian Institution Artist Research Fellowship Program, Washington DC.
2007 Artist-in Residence, Singapore Tyler Institute, Singapore
2005 Artist-in Residence, H&R Block Artspace at the Kansas City Art Institute,
Kansas City, MO
1999 Artist-in-Residence, School of the Art Institute of Chicago, Chicago, IL
1999 UNESCO Prize, 48 Esposizione Internationale della Biennale di Venezia,
1997 Pollock-Krasner Foundation Grant, New York
1996 Artist-in-Residence, University of North Carolina, Chapel Hill, NC
1991 Institut des Hautes Etudes en Arts Plastiques, Paris
1989 M.F.A. in Painting, Villa Arson, Ecole Nationale Superieure d’Art (Formely Ecole Pilote Internationale d’Art et de Recherche), Nice, France
1987 School of The Museum of Fine Arts, Boston
1986 B.F.A. in Painting Villa Arson, Ecole Nationale Superieure d’Art (Formerly Ecole Pilote Internationale d’Art et de Recherche), Nice, France
Art Institute of Chicago, Chicago, IL.
Birmingham Museum of Art, Birmingham, AL.
Brooklyn Museum, New york.
Centre Georges Pompidou, Paris, France.
Detroit Institute of Art, Detroit, MI.
Fond National d’Art Contemporain (FNAC) Paris, France.
Fonds Régional d’Art Contemporain (FRAC), Auvergne, France.
Fonds Régional d’Art Contemporain (FRAC), Provence-Alpes-Côte d’Azur, France.
Guggenheim Museum, Abu Dhabi, UAE.
Hood Art Museum, Dartmouth College, Hanover, NH.
Indianapolis Museum of Art, Indianapolis, IN.
The Israel Museum, Jerusalem, Israel.
LaM Museum, Lille Métropole Musée d’Art Moderne, d’Art Contemporain et d’Art Brut.
Leeum, Samsung Museum of Art, Seoul, South Korea.
Museum Kunstpalast, Dusseldorf, Germany.
Neuberger Berman Art Collection, New York, NY.
Sammlung Goetz, Munich, Germany.
Speed Art Museum, Louisville, Kentucky.
Tel Aviv Museum of Art, Tel Aviv, Israel.
2010 Anthea Buys, Sprawling Tales of Home, Mail & Guardian, Johannesburg, South Africa
2010 Ufrieda Ho, A Nose and a Box to Draw Art Lovers, The Star, Johannesburg, South Africa
2013 Rosa Martinez and Reem Fadda, Ghada Amer: Référence à Elle,Seoul: Kukje Gallery
2012 Le Corps Découvert, Institut du Monde arabe (text by Véronique Rieffel), France
2012 Jamie Schwartz and Jacob Lewis, The Other I, Tina Kim Gallery, USA.
2012 Therese St. Gelais, Ghada Amer, Musée d’art contemporain de Montréal, Canada
2011 Nathan Rubin, No Romance: Ghada Amer | Reza Farkhondeh & Collaborative Work, Goodman Gallery, Johannesburg, South Africa
2010 Martine Antle The Gardens Next Door, Galeria Filomena Soares, Lisbon, Portugal.
2010 Maura Reilley, Ghada Amer Gregory R. Miller & Co, New York, USA
2009 Vincent Katz, The Natural World, the Political Context: Collaborative Monoprints by Ghada Amer and Reza Farkhondeh, Pace Prints, New York.
2008 Laurie Ann Farrell, Ghada Amer & Reza Farkhondeh: Collaborative Drawings, Seoul: Kukje Gallery
2008 Martine, Antle,Ghada Amer/Reza Farkhondeh: A New Collaboration on Paper, Singapore: STPI.
2007 Germano Celant, Danilo Eccher, Teresa Macri and Elizabeth Janus, Ghada Amer, MACRO, Roma
2006 Ghada Amer. New York: Gagosian Gallery. (text by Maria Elena Buszek and Christophe Kihm).
2004 Laurie Ann Farrell, Ghada Amer, Seoul: Kukje Gallery
2004 A.M Homes, Ghada Amer, Gagosian Gallery, New York
2004 Rosa Martínez, Jan-Erik Lundström and Teresa Millet, Ghada Amer, Institut Valencià d’Art Modern, Valencia
2003 Sahar Amer and Olu Oguibe, Ghada Amer, Amsterdam: De Appel.
2003 Lisa D Freiman, Ghada Amer, Indianapolis Museum of Art, Indianapolis
2003 Haglund, Elisabet, and Maleström Tamara, Sites of Recurrence: a Workshop in Contemporary Art, Chennai: Madras Craft Foundation, Text by Wendt, Selene, India
2003 Rosa Martinez, Ghada Amer, Galeria Filomena Soares, Lisbon
2002 Clara Kim, Ghada Amer: Délier les Langues , Galerie Guy Bärtschi, Geneva
2002 Andrew Renton, Ghada Amer, Gagosian Gallery, New York
2001 Ghada Amer: Pleasure [Perspectives 128], Valerie Cassel, Contemporary Art Museum, Houston
2001 Karen Moss, Ghada Amer, San Francisco Art Institute, San Francisco
2001 Selene Wendt, Ghada Amer: Reading Between the Threads, Henie Onstad Kunstsenter, Høvikodden
2000 Nehama Guralnik and Mordecha Omer, Ghada Amer: Intimate Confessions, Museum of Art, Tel Aviv
1998 Candice Breitz, Ghada Amer, Kunsthalle Fridercianum, Kassel
1994 Xavier Franceschi and Olivier Zahm, Ghada Amer, Espace Jules Verne, Brétigny-sur-Orge
1992 Théophile Barbu, Ghada Amer, Hôpital Ephémère, Paris
Press for Ghada Amer
Ghada Amer at Villa Datris
Work by Ghada Amer features on the exhibition Sculptrices at Villa Datris, L’Isle-sur-Sorgue, France. The exhibition invites visitors to discover the world of sculpture by women artists and includes 60 artists, with more than 80 works, including twenty installed in the sculpture garden of the Villa Datris. The exhibition runs from 28 April to 11 November 2013.
In Context / The Star / Johannesburg / South Africa / 20 May 2010A nose and a box to draw art lovers by Ufrieda Ho (3.3 MB)