Hi! I'm an artist, writer, designer, and teacher. I make public exhibitions at arts institutions, recently Untitled (OHRHUT) at Witte de With, Rotterdam (2018); FIRST CLASS, SECOND THOUGHTS, INTERMINABLE SWELL at Plug In ICA, Winnipeg (2017); Greater New York at MoMA PS1, New York (2015-16); Area Variance at Kunstverein Munich (2015); Whitney Biennial at Whitney Museum of American Art, New York (2014); Why bother? at Objectif Exhibitions, Antwerp (2013-14); and Angie Keefer at Yale Union, Portland (2013). My talks, public events, and various collaborations with other artists have also been produced at Artists Space, New York (2015); Liverpool Biennial, UK (2014); and the São Paulo Biennial, Brazil (2012), among others. My writing appears in a few artists' books and magazines. The latter include Mousse, Harvard Design Magazine, and The Bulletins—the bi-annual house journal of The Serving Library, a non-profit artists' educational organization I co-founded in 2010, now based in Liverpool. I got a BA from Yale University (1999) after graduating from the Alabama School of Fine Arts (1995), a public high school for the arts in Birmingham, Alabama. I've taught at The Royal Institute of Art, Stockholm, and Yale School of Art, New Haven, and conducted seminars, workshops, and lectures at numerous other universities, art schools, and biennials in the US, Europe, and South America. Some of my work is for hire, the rest is either free or for sale. I'm easy to reach.

Coming soon

OHRHUT is a signal-thwarting mobile phone and tablet case conceived as both a commodity and an intervention. Publicly proposed as a practical corrective to systemic problems of political and economic inequity, OHRHUT sought its market through the Kickstarter crowdfunding service and other social media platforms in late 2017, but was quickly suppressed by Facebook and Instagram for alleged violation of "community standards." In Spring 2018, OHRHUT reemerges via the museum. Watch this space or join the mailing list at ohrhut.com for updates and announcements.



untitled paragraphs
Chris Evans, Job Interviews
Hong Kong: Para Site and uh books, 2017

What Is What
The Serving Library Annual
Amsterdam: Roma, 2017

Talking <)s into Existence
Harvard Design Magazine, Issue 38
Cambridge: Harvard University Graduate School of Design, 2014

To Whom It May Concern
A Needle Walks Into A Haystack
Liverpool: Liverpool Biennial, 2014

Whitney Biennial
New York: Whitney Museum of American Art, 2014

Where Were We
The Bulletins of the Serving Library, No. 6
Berlin: Sternberg Press, 2014

Found Wanting
Mousse Magazine, Issue 41
Milan: Mousse Publishing, 2014

The Old Man The Boat
The Federal
Brussels: Tulips & Roses, 2012

untitled scripts for hypnosis
Hypnotic Show
Turin: Artissima 18, 2011

Polite Terrorism
I like your work
New York: n+1 Foundation, 2009

Icons Govern Action
Dot Dot Dot 19
New York: Dexter Sinister, 2009



I eat to live in a Congressional swing district in rural upstate New York currently represented in the House by a Republican who won on a dishonest campaign financed by radical billionaires. (N.B. re. scale: The difference between a million dollars and a billion dollars is about a billion dollars.) Today, one can reasonably argue that paid political influence is the opposite of justice in a democracy, is in fact the opposite of democracy. But justice, like so many significant concepts, is an idea subject to change over time through the ongoing negotiation of status quo, a negotiation in which we all participate, wittingly or not. Another way of putting this is that the meaning of justice is culturally adjudicated.

The degradation of foundational concepts impacts our lives well beyond the supposed realm of lofty ideals; our conditions change in tandem with our perceptions of What Is and our judgments about What Should Be. Today, we can fathom that the opposite of poverty in all its many forms is also justice. Yet, an imposing share of those now holding top leadership positions in the US and in governments around the world maintain that poverty is justice, that those who lack power and wealth, lack power and wealth as a consequence of their own moral failings and should be left, as losers, to suffer their deserved conditions under domination of self-anointed winners. (Do you agree? Maybe you think "the cream always rises," or "hard work is ultimately rewarded," or "the poor are lazy." Does it? Is it? Are we?) By the same token, fantasies of wealth attainment preoccupy our pop-cultural imagination where political possibilities for achieving increased well-being should proliferate instead. I write "should" because I'm stating a moral position.

Conscious participation in the compulsory cultural negotiation of status quo is a moral choice for artists, as for others, while unconscious participation inevitably serves to consolidate wealth and political power in fewer hands, undermining what we now—perhaps only for the time being—know as justice, which encompasses meaning itself.

The mass work of building a more just society neither progresses nor concludes with any singular act. Likewise, nothing goes very long without saying, so many must keep saying in so many ways: just ideals are eco-logical, just perspectives systemic. As an artist, and moreover as one ordinary human being, I intend the work I do to help move status quo away from distortions of justice towards ever-broader distributions of power.



- New York Times


- ARTnews


- HyperAllergic


Email: hello(at)angiekeefer(dot)com
Instagram: @angie.keefer