Geoffrey Farmer – CV

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Geoffrey Farmer
b. 1967, Vancouver
Lives and works on Kauai, USA

Education

  • 1992 Emily Carr College of Art and Design, Vancouver
  • 1991 San Francisco Art Institute, San Francisco, USA

Selected Solo Exhibitions

  • 2018 MUDPUDDLERS, CORN BORERS, POLYMORPHIC PLATYFORMS., Casey Kaplan, New York, NY
  • 2017 The Care With Which The Rain Is Wrong, Schinkel Pavillon, Berlin, Germany
    Geoffrey Farmer & Gareth Moore. A Dark Switch Yawning, Neptune Skeletons Thronging, Black Bucket Prolonging, World Turtle Longing, Sink Plug Wronging, Salzburger Kunstverein, Salzburg, Austria
    A way out of the mirror, Canada Pavilion, 57th Venice Biennale, Venice, Italy
    The Big Kitchen, Catriona Jeffries, Vancouver
  • 2016 The Institute of Contemporary Art/Boston, Boston, USA
  • 2015 How Do I Fit This Ghost in My Mouth, Vancouver Art Gallery, Vancouver
  • 2014 Cut nothing, cut parts, cut the whole, cut the order of time, Casey Kaplan, New York, USA
    Leaves of Grass, National Gallery of Canada, Ottawa, Canada
    Every day needs an urgent whistle blown into it, Art Gallery of Ontario, Toronto, Canada
    Let’s Make the Water Turn Black, Kunstverein in Hamburg, Hamburg, Germany; Pérez Art Museum, Miami, USA
    The Grass and the Banana go for a walk, Catriona Jeffries, Vancouver
  • 2013 The Surgeon and the Photographer, The Curve Gallery, Barbican, London, UK
    Let’s Make the Water Turn Black, Migros Museum für Gegenwartskunst, Zurich, Switzerland; Nottingham Contemporary, Nottingham, UK
    Hybrid Naples: L’ordine delle idee deve procedere secondo l’ordine delle cose, Bettina Allamoda and Geoffrey Farmer, Fondazione Morra Greco, Naples, Italy
    A Light In The Moon, Mercer Union, Toronto, Canada
  • 2011 Mondegreen, in collaboration with Jeremy Millar, Project Arts Centre, Dublin, Ireland
    Bacon’s Not The Only Thing That Is Cured By Hanging From A String, Casey Kaplan, New York, USA
    Let’s Make the Water Turn Black, REDCAT, Los Angeles, USA
  • 2010 God’s Dice, Walter Phillips Gallery, Banff Centre, Banff, Canada
    The Surgeon and the Photographer, Catriona Jeffries, Vancouver
    Ongoing Time Stabbed With A Dagger, Dunlop Art Gallery, Regina, Canada
    El Vampiro De Coyoacán y sus Veinte Achichintles, Experimental El Eco, Mexico City, Mexico
    Western Bridge, Seattle, USA
  • 2008 Musée d’art contemporain de Montréal, Montreal, Canada
    Forgetting Air, Witte de With Center for Contemporary Art, Rotterdam, the Netherlands
  • 2007 The Last Two Million Years, Spacex, Exeter, UK; The Drawing Room, London, UK
  • 2006 Airliner Open Studio, Catriona Jeffries, Vancouver
  • 2005 Set: Room 302, in collaboration with Judy Radul, Artspeak, Vancouver
    Pale Fire Freedom Machine, The Power Plant Contemporary Art Gallery, Toronto, Canada
  • 2004 Every Surface in Some Way Decorated, Altered or Changed Forever (Except the Float), Catriona Jeffries, Vancouver
  • 2002 The Blacking Factory, Contemporary Art Gallery, Vancouver
  • 2001 Catriona Jeffries Catriona, Catriona Jeffries, Vancouver
  • 2000 Hunchback Kit, Art Gallery of Ontario, Toronto, Canada
  • 1996 Home Alone (Becoming Your Own Spaceship), Or Gallery, Vancouver

Selected Group Exhibitions

  • 2019 Unexplained Parade, Catriona Jeffries, Vancouver
    the poets have always preceded, Griffin Art Projects, North Vancouver, Canada
  • 2018 Stories of Almost Everyone, Hammer Museum, Los Angeles, USA
  • 2017 Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas –Pedro Salazar Torres (Partido Socialista Trabajador), Regen Projects, Los Angeles, USA
    Field Guide, Remai Modern, Saskatoon, Canada
    Propped, Oakville Galleries, Oakville, Canada
    Canadian and Indigenous Art: 1968 to Present, National Gallery of Canada, Ottawa, Canada
    IMMATERIAL, Material Art Fair, Expo Reforma, Mexico City, Mexico
    Yesterday was Once Tomorrow (or, A Brick is a Tool), Walter Phillips Gallery Satellite Space, The Banff Centre, Banff, Canada
    Becoming Animal/Becoming Landscape, Kamloops Art Gallery, Kamloops, Canada
  • 2016 Revolt of the Sage, Blain Southern, London, UK
    Le Grand Balcon, in collaboration with Brian Jungen, La Biennale de Montréal, Montreal, Canada
    Becoming Animal/Becoming Landscape, Morris and Helen Belkin Art Gallery, Vancouver
    Readymades, Gordon Smith Gallery of Canadian Art, North Vancouver, Canada
    Surrogates, Griffin Art Projects, North Vancouver, Canada
    MashUp: The Birth of Modern Culture, Vancouver Art Gallery, Vancouver
    Objects do things, The Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland
    Yesterday was Once Tomorrow (or, A Brick is a Tool), Artexte, Montreal; Plug In ICA, Winnipeg, Canada
  • 2015 A Brief History of the Future, The Louvre, Paris, France
    If You Leave Me Can I Come Too?, Hunter East Harlem Gallery, New York, USA
    Hall of Half Life, Steirischer Herbst Festival of New Art, Graz, Austria
    Luminato Festival, Toronto, Canada
    Coal for Wine, Brennan & Griffin, New York, NY; FAB Gallery, Virginia Commonwealth University, Richmond, USA
  • 2014 Below another sky, Aberdeen Art Gallery, Aberdeen, Scotland
    Shine a Light: Canadian Biennial, National Gallery of Canada, Ottawa, Canada
    Never Look Back When Leaving, Casey Kaplan, New York, USA
    Unreal, Kamloops Art Gallery, Kamloops; Evergreen Cultural Centre, Coquitlam; Kelowna Art Gallery, Kelowna, Canada
    Cindy Sherman meets Dzunuk’wa: From the Michael and Inna O’Brian Collection, Satellite Gallery, Vancou­ver
  • 2013 Works on Paper, i8 Gallery, Reykjavik, Iceland
    The Intellection of Lady Spider House, Art Gallery of Alberta, Edmonton, Canada
    A Postcard from Victoria, Art Gallery of Greater Victoria, Victoria, Canada
    Triennale der Kleinplastik, Stadt Fellbach – Kulturamt, Fellbach, Germany
    Puppet Show, Eastside Projects, Birmingham, UK
    De belles sculptures contemporaines, Frac des Pays de la Loire, Fonds Régional d’Art Contemporain, Carquefou, France
  • 2012 dOCUMENTA (13), Kassel, Germany
    ONE ON ONE, KW Institute for Contemporary Art, Berlin, Germany
    Children’s Films
    , Contemporary Art Gallery, Vancouver; International Project Space, Birmingham, UK
    Stage Presence, San Francisco Museum of Modern Art, San Francisco, USA
    No. 17, Casey Kaplan, New York, USA
    Freedom of Assembly, Oakville Galleries, Oakville, Canada
    Tools for Conviviality, The Power Plant, Toronto, Canada
  • 2011 An Autobiography of Our Collection, Vancouver Art Gallery, Vancouver
    Beyond, Kumu Art Museum, Tallinn, Estonia
    Children’s Films, Bielefelder Kunstverein, Bielefeld, Germany
    Déjà – The Collection on display, Musée d’art contemporain de Montréal, Montreal, Canada
    The Garden of Forking Paths, Migros Museum für Gegenwartskunst, Zurich, Switzerland
    12th Istanbul Biennial, Istanbul, Turkey
    People Things Enter Exit, Catriona Jeffries, Vancouver
    We Will Live, We Will See, Zabludowicz Collection, London, UK
    101 Collection: Route 2, Undisclosed Destination, CCA Wattis Institute for Contemporary Art, San Francisco, USA
  • 2010 Huckleberry Finn, CCA Wattis Institute for Contemporary Art, San Francisco, USA
    Reflection: 15 Years, Casey Kaplan, New York, USA
    Sculpture as Time: Major Works. New Acquisitions, Art Gallery of Ontario, Toronto, Canada
  • 2009 Le chant de la carpe, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux, France
    Loaded, Catriona Jeffries, Vancouver
    Nomads, National Gallery of Canada, Ottawa, Canada
    Nuit Blanche, Toronto, Canada
    Vuelo Fuera de Tiempo / Flight Out of Time, Museo de la Ciudad de Mexico, Mexico City, Mexico
  • 2008 1st Brussels Biennial, Brussels, Belgium
    Caught in the Act: The Viewer as Performer, National Gallery of Canada, Ottawa, Canada
    Don’t Come In, Be Merciful, Johnen + Schöttle, Cologne, Germany
    The Human Arc, Tramway, Glasgow, Scotland
    I Am Never At Home, Johnen Galerie, Berlin, Germany
    Master Humphrey’s Clock, Het Gebouw, Leidsche Rijn, Utrecht, the Netherlands
    Pleinairism, i8, Reykjavik, Iceland
    Stories, In Pieces, Justina M. Barnicke Gallery, Toronto, Canada
    16th Biennale of Sydney, Sydney, Australia
    The World as a Stage, ICA Boston, Boston, USA
  • 2007 Gasoline Rainbows, Contemporary Art Gallery, Vancouver
    Ice Trade, Chelsea Space, London, UK
    The World as a Stage, Tate Modern, London, UK
    Crack the Sky, La Biennale de Montréal, Montreal, Canada
  • 2006 274 East 1st, Catriona Jeffries, Vancouver
    Make Believe, Art Gallery of Alberta, Edmonton, Canada
    Dibujos, El Levante, Rosario, Argentina
  • 2005 Classified Materials: Accumulations, Archives, Artists, Vancouver Art Gallery, Vancouver
    Intertidal: Vancouver Art and Artists, Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium
    Mix with Care, Catriona Jeffries, Vancouver
  • 2004 A Few of My Favourite Things: On Collecting Series, Centre for the Arts, University of Lethbridge, Lethbridge, Canada
    I’ve Done This For You, Charles H. Scott Gallery, Vancouver
    The Coast is Clear, Catriona Jeffries, Vancouver
  • 2003 Beachcombers, Mead Art Gallery, University of Warwick, Coventry, UK
    Hammertown, Bluecoat Gallery, Liverpool, UK; Winnipeg Art Gallery, Winnipeg, Canada
    I Sell Security, Catriona Jeffries, Vancouver
    mosaiCanada: Sign and Sound, Seoul Museum of Art, Seoul, Korea
    Seethe, Catriona Jeffries, Vancouver
  • 2002 Beachcombers, Gasworks, London; Middlesbrough Art Gallery, Middlesbrough, UK
    Hammertown, Fruitmarket Gallery, Edinburgh, Scotland
    Officina America, Villa delle Rose, Bologna, Italy
  • 2001 The Alien Project, Edmonton Art Gallery, Edmonton, Canada
    Promises, Contemporary Art Gallery, Vancouver
    Universal Pictures 3.1, Plug-In Gallery, Winnipeg, Canada
    Universal Pictures 3, Blackwood Gallery, Mississauga, Canada
    Supernatural Fairytales (Pink Island), Catriona Jeffries, Vancouver
  • 2000 Curatorial Mutiny Part 2: På Samma Våglängd, Konstakuten Gallery, Stockholm, Sweden
    Message by Eviction: New Art from Vancouver, Illingworth Kerr Gallery, Calgary, Canada
    Self-Conscious, Catriona Jeffries, Vancouver
  • 1999 Universal Pictures II, Monte Clark Gallery, Vancouver
    Universal Pictures, Melbourne International Biennial, Melbourne, Australia
  • 1998 Close Encounters, Ottawa Art Gallery, Ottawa, Canada
    Fragile Electrons, National Gallery of Canada, Ottawa, Canada
    6: New Vancouver Modern, Morris and Helen Belkin Art Gallery, Vancouver, Canada

Monographs

  • 2017 Kitty Scott, ed., Geoffrey Farmer: A Way Out of the Mirror, National Gallery of Canada, Ottawa, Canada, and Mousse Publishing, Milan, Italy
  • 2016 Dan Byers, Geoffrey Farmer, The Institute of Contemporary Art/Boston, Boston, USA
  • 2015 Geoffrey Farmer: The Surgeon and the Photographer, Vancouver Art Gallery, Vancouver
  • 2013 Heike Munder, Alex Farquharson, Bettina Steinbrügge, and Tobias Ostrander, eds., Geoffrey Farmer, Migros Museum für Gegenwartskunst and JRP|Ringier, Zurich, Switzerland; Nottingham Contemporary, Nottingham, UK; Kunstverein in Hamburg, Hamburg, Germany; Pérez Art Museum Miami, Miami, USA
  • 2008 Zoë Gray, Nicolaus Schafhausen, and Monika Szewczyk, eds., Geoffrey Farmer, Witte de With Center for Contemporary Art, Rotterdam, the Netherlands
    Pierre Landry, Jessica Morgan, and Scott Watson, Geoffrey Farmer, Musée d’art contemporain de Montréal, Montreal, Canada
  • 2003 Peter Culley and Reid Shier, Geoffrey Farmer, Contemporary Art Gallery, Vancouver

Books and Exhibition Catalogues

  • 2017 Gregory Burke and Sandra Guimarães, eds., Field Guide, Remai Modern, Saskatoon, Canada
    Simon Moretti and Craig Burnett, eds., Revolt of the Sage, Blain Southern, London, UK
  • 2016 Bill Jeffries, et al., Readymades, Gordon Smith Gallery of Canadian Art, North Vancouver, Canada
    Helga Pakasaar, Surrogates, Griffin Art Projects, North Vancouver, Canada
  • 2014 Josée Drouin-Brisebois, Greg Hill, Andrea Kunard, Jonathan Shaughnessy, and Rhiannon Vogl, Shine A Light: Canadian Biennial 2014, National Gallery of Canada, Ottawa, Canada
    The Twenty First Century Art Book, Phaidon, London, UK
  • 2013 Janneke de Vries, ‘Geoffrey Farmer’, in Utopia Starts Small: 12 Triennale Kleinplastik Fellbach, eds. Yilmaz Dziewior and Angelika Nollert, Verlag der Buchhandlung Walter König, Cologne, Germany
    Works on Paper, i8 Gallery, Reykjavik, Iceland
    Sarah Robayo Sheridan, A Light In The Moon, Mercer Union, Toronto, Canada
  • 2012 Robin T. Anthony and Cassandra Cook, eds., The RBC Collection: Selected Works, Royal Bank of Canada, Toronto, Canada
    Thomas Thiel, Luke Fowler & Toshiya Tsunoda / Children’s Films, Bielefelder Kunstverein, Bielefeld, Germany
    dOCUMENTA (13): The Guidebook, Hatje Cantz, Berlin, Germany
  • 2011 Jens Hoffmann, ‘Geoffrey Farmer’, in The Companion: Untitled (12th Istanbul Biennial), Istanbul Foundation for Culture and Arts and Yap1 Kredi Publications, Istanbul, Turkey
    Jens Hoffmann and Adriano Pedrosa, eds., The Catalogue: Untitled (12th Istanbul Biennial), Istanbul Foundation for Culture and Arts and Yap1 Kredi Publications, Istanbul, Turkey
  • 2010 Dieter Roelstraete, ‘Geoffrey Farmer’, in The Art of Tomorrow, Distanz Verlag, Berlin, Germany
    Kitty Scott, ‘Geoffrey Farmer’, in Creamier, Phaidon, London, UK
  • 2009 Andrew Bonacina, ‘Geoffrey Farmer’, in Vitamin 3-D: New Perspectives in Sculpture and Installation, Phaidon, London, UK
    Josée Drouin-Brisebois, Nomads, National Gallery of Canada, Ottawa, Canada
  • 2008 Anne-Marie Ninacs, Caught in the Act: The Viewer as Performer, National Gallery of Canada, Ottawa, Canada
    Monika Szewczyk, ‘Changes in the work of Geoffrey Farmer’, in Anthology of Exhibition Essays 2006/2007, CJ Press, Catriona Jeffries, Vancouver
  • 2007 Jessica Morgan and Catherine Wood, The World as a Stage, Tate Publishing, London, UK
    Wayne Baerwaldt, Crack the Sky: la Biennale de Montréal 2007, CIAC/Centre international d’art contemporain de Montréal, Montreal, Canada
  • 2006 Dieter Roelstraete and Scott Watson, eds., Intertidal: Vancouver Art and Artists, Museum van Hedendaagse Kunst Antwerpen (MuHKA), Antwerp, Belgium, and Morris and Helen Belkin Art Gallery, Vancouver
  • 2005 Josephine Mills and Nancy Tousley, On Collecting, The University of Lethbridge Art Gallery, Lethbridge, Canada
    Richard Fowler, ‘A Lawyer Steps into Room 302’, Postscript 16, Artspeak, Vancouver
  • 2003 Wayne Baerwaldt, mosaiCanada: Sign & Sound, Seoul Museum of Art, Seoul, Korea
  • 2002 Renato Barilli, Officina America, Villa delle Rose, Bologna, Italy
    Katharine Stout and Andrew Renton, The Beachcombers, The Drawing Room, London, UK
    Michael Turner and Reid Shier, Hammertown, The Fruitmarket Gallery, Edinburgh, Scotland
  • 2001 Beverly Best and Lindsay Brown, Black Figure No Black Figure Black Figure, Catriona Jeffries, Vancouver
  • 2000 Pamela Meredith, Self-Conscious: Geoffrey Farmer, Germaine Koh, Damian Moppett, Kelly Wood, Catriona Jeffries, Vancouver
    Matthew Teitelbaum, Present Tense: Contemporary Project Series No. 16: Geoffrey Farmer, Art Gallery of Ontario, Toronto, Canada
  • 1999 Kitty Scott, ‘Universal Pictures’, in Signs of Life, Melbourne International Biennial, Melbourne, Australia
  • 1998 Wayne Baerwaldt, ‘Building home, not my own.’, in Fragile Electrons: Celebrating Twenty Years of Collecting Video Art, Recent Canadian Video Production, National Gallery of Canada, Ottawa, Canada
    Scott Watson, et al., 6: New Vancouver Modern, Morris and Helen Belkin Art Gallery, Vancouver
    Sylvie Fortin, Close Encounters, Ottawa Art Gallery, Ottawa, Canada

Magazines and Periodicals

  • 2018 Yasmin Nurming-Por, ‘Geoffrey Farmer’, Canadian Art, 19 December
    Caoimhe Morgan-Feir, ‘How One Artist Is Redefining the Exhibition Space’, The Walrus, 1 February
  • 2017 Loretta Gomell, ‘Geoffrey Farmer’, Zitty, 1 November
    Sarrita Hunn, ‘Geoffrey Farmer stirs up politics in his solo show’, Exberliner, No. 165, 1 November
    Jack Radley, ‘The Persistence of Images: Geoffrey Farmer at Schinkel Pavillon’, Berlin Art Link, 17 October
    Rab Messina, ‘In Geoffrey Farmer’s Mirror’, TL Magazine, 15 October
    Ingeborg Ruthe, ‘Im irdischen Himmelhöllenkabinett’, Berliner Zeitung, 6 October
    Boris Pofalla, ‘Befreiung der Bilder’, Frankfurter Allgemeine Sonntagszeitung, 1 October
    Anne Lesley Selcer, ‘Trauma is a Memory Palace with the Roof Blown Off’, Open Space, SFMOMA, 27 September
    Mitch Speed, ‘Reviews: Special Berlin Art Week’, Mousse Magazine, September
    Karim Crippa, ‘Autumn Art Edits’, SLEEK, No. 55, 8 September
    Andrew Witt, ‘A Shattered Mirror: Geoffrey Farmer’s Disobedient Object in Venice’ Momus, 16 August
    Arthur S. Lopes and Yael M. Saiger, ‘Geoffrey Farmer Builds an Alluring Apocalypse at the Venice Biennale’, The Harvard Crimson, 3 August
    Mohammad Salemy, ‘Tilting the scale: on the 57th Venice Biennale’, Ocula, 21 July
    Tim Blanks, ‘Reflections of the Venice Effect’, The Business of Fashion, 17 May
    Adrian Searle, ‘Venice Biennale: slaps, drenchings, and Dobermans on the prowl’, The Guardian, 15 May
    Murray Whyte, ‘Geoffrey Farmer at the Venice Biennale: Through a glass, darkly’, The Star, 13 May
    Manon Dumais, ‘Geoffrey Farmer deconstructs the Canada Pavilion at the 57th Venice Biennale’, Le Devoir, 12 May
    Rosie Prata, ‘Geoffrey Farmer in Venice: A First Look’, Canadian Art, 10 May
    Lorena Muñoz-Alonso, ‘5 Triumphant National Pavilions at the Venice Biennale, From Finnish Robots to Canadian Floods’, ArtNet, 10 May
    Kevin Griffin, ‘ART SEEN: Geoffrey Farmer blows the top off the Canadian Pavilion at the Venice Biennale’, The Vancouver Sun, 10 May
    Iker Seisdedos, ‘The Venice Biennial intones an ode to the transforming power of art’, El País, 10 May
    Sara Angel, ‘Geoffrey Farmer’s tour de force at the Venice Biennale’, Maclean's, 10 May
    Kelly Crow, ‘The Olympics of the Art World’, The Wall Street Journal, 6 May
    Andrew Russeth, ‘There She Blows: Geoffrey Farmer Builds a Geyser in the Canadian Pavilion’, ArtNews, 9 May
    Craig Burnett, ‘Only Connect’, ArtReview, vol. 69 no. 4, May
    Claudia Bodin, ‘Blick zurück nach vorn’, Art Magazin, May
    Lorenzo Benedetti, ‘Geoffrey Farmer: Canadian Pavilion Venice Biennale’, Mousse Magazine, Issue 58, April/May
    Michael Harris, ‘Geoffrey Farmer: Canada’s representative at the Venice Biennale’, NUVO Magazine, 13 March
    Robert Enright and Meeka Walsh, ‘The Multitudinous See: An Interview with Geoffrey Farmer’, Border Crossings, Issue 141, March
    Marsha Lederman, ‘When Generations Collide’, The Globe and Mail, 22 February
    Rob Stone, ‘Geoffrey Farmer’s “The Big Kitchen”’, Art Agenda, 14 February
    Jens Hoffmann, ‘The Biennale de Montréal’, Artforum, Reviews, February
  • 2016 Geoffrey Farmer and Dora García, ‘Nobody is Sleeping in the Sky’, Mousse Magazine, Issue 54, Summer
    Sebastian Smee, ‘Geoffrey Farmer’s art at the ICA: Once you’ve seen it, you can’t shake it’, The Boston Globe, 14 April
    Mark Clintberg and Jon Davies, ‘Haunted by Queer Affect: Geoffrey Farmer’s The Intellection of Lady Spider House and Allyson Mitchell’s Killjoy’s Kastle’, Journal of Curatorial Studies, vol . 5, no. 1, February
    Sarah Lehrer-Graiwer, ‘Geoffrey Farmer’, Artforum, January
  • 2015 Kevin Griffin, ‘Vancouver’s Geoffrey Farmer to represent Canada at Biennale’, The Vancouver Sun, 15 December
    Marsha Lederman, ‘Vancouver-based installation artist Geoffrey Farmer to represent Canada at Venice Biennale’, The Globe and Mail, 11 December
    David Balzer, ‘Geoffrey Farmer Will Represent Canada at Venice Biennale in 2017’, Canadian Art, 11 December
    Kyra Kordoski, ‘Geoffrey Farmer’, Magenta Magazine, September
    Peter Zimonjic, ‘Making the Personal Universal: Geoffrey Farmer at the Vancouver Art Gallery’, National Gallery of Canada, 11 June
    Amy Luo, ‘Salvage Economy: Geoffrey Farmer’s Mid-career Survey at the Vancouver Art Gallery’, Canadian Art, Summer
  • 2014 Alan Gilbert, ‘Geoffrey Farmer’s “Cut Nothing, Cut Parts, Cut the Whole, Cut the Order of Time”’, Art Agenda, 4 December
    Adrianna Campbell, ‘Critics’ Picks: Geoffrey Farmer’, Artforum, December
    Sarah Milroy, ‘The true north strong and fresh: National Gallery unveils Canadian contemporary art exhibition’, The Globe and Mail, 17 October
    Peter Simpson, ‘The National Gallery shows off some of its recent purchases’, Ottawa Citizen, 17 October
    Katherine Stauble, ‘Shining the Light on Four Biennial Artists’, National Gallery Magazine, 15 October
    Phillip Valys, ‘Perez Art Museum presents freewheeling portrait of Frank Zappa’, South Florida online, 10 October
    Murray Whyte, ‘Geoffrey Farmer makes Henry Moore’s work ephemeral and fleeting’, The Toronto Star, 7 July
    James Adams, ‘Geoffrey Farmer brings light and shadow, sound and silence to AGO’, The Globe and Mail, 4 July
    Aryen Hoekstra, ‘The Mine of the Ancients: On Geoffrey Farmer’s “A Light in the Moon”’, Border Crossings, No. 129, March
  • 2013 Leah Sandals, ‘Top Three of 2013’, Canadian Art online, 24 December
    Bryne McLaughlin, ‘December Picks: Geoffrey Farmer: A Light In The Moon at Mercer Union’, Artforum online, 15 December
    Murray Whyte, ‘Geoffrey Farmer: A Light In the Moon at Mercer Union’, The Star, 9 November
    Marsha Lederman, ‘Geoffrey Farmer’s Haunting to Last a Lifetime’, The Globe and Mail, 30 October
    Nancy Tousley, ‘Duchamp Ghosts Geoffrey Farmer’s Spider House in Edmonton’, Canadian Art, 30 October
    Terry R. Myers, ‘Geoffrey Farmer: Let’s Make the Water Turn Black’, Art Review, October
    Agnieszka Matejko, ‘Geoffrey Farmer: The Intellection of Lady Spider House’, Galleries West, 25 September
    Leah Sandals, ‘Q&A: Geoffrey Farmer Launches Haunted House in Edmonton’, Canadian Art online, 19 September
    Darleen Masakhwe, ‘The Intellection of Lady Spider House’, The Gateway, 18 September
    Michael Turner, ‘A Postcard from Victoria’, The Capilano Review, Fall
    ‘Vancouver’s Geoffrey Farmer wins prestigious art prize’, The Globe and Mail, 6 June
    Murray Whyte, ‘Vancouver artist wins Gershon Iskowitz Prize’, The Toronto Star, 6 June
    Philomena Epps, ‘Geoffrey Farmer: The Surgeon and the Photographer at Barbican’s Curve’, Flux Magazine, 16 April
    Laura Cumming, ‘Geoffrey Farmer: The Surgeon and the Photographer’, The Guardian, 7 April
    Agnieswzka Matejko, ‘Geoffrey Farmer: The Intellection of Lady Spider House’, Galleries West, Spring
    Britt Gallpen, ‘Geoffrey Farmer: A Light In the Moon at Mercer Union’, Canadian Art online, 8 January
  • 2012 Bernd Graff, ‘Pop Egal’, Max Joseph, Vol. 1
    Rosemary Heather, ‘Geoffrey Farmer: An Interview on Leaves of Grass’, Canadian Art online, 30 August
    Fran Schechter, ‘Tools rules’, Now Toronto, 19 July
    Murray Whyte, ‘Tools for Conviviality’, Toronto Star, 17 July
    Murray Whyte, ‘Freedom of Assembly’, Toronto Star, 7 July
    Adrian Searle, ‘Documenta 13: Mysteries in the mountain of mud’, The Guardian, 11 June
    Jan Verwoert, ‘Geoffrey Farmer: Coming to Life’, Frieze, May
  • 2011 Isobel Harbison, ‘Geoffrey Farmer and Jeremy Millar’, Frieze, November/December
    Monika Szewczyk, ‘Characters and Characteristics of the Work’, Mousse Magazine, September
    Sarah Lehrer-Graiwer, ‘Geoffrey Farmer: REDCAT’, Artforum, Summer
    Andrew Berardini, ‘Geoffrey Farmer: Let’s Make the Water Turn Black’, Art Review, Summer
    Kirsten Swenson, ‘Los Angeles, Geoffrey Farmer: Let’s Turn the Water Black’, Art in America, June/July
    Claudia Sanar, ‘Let’s Make the Water Turn Black: Constantly in flux’, LA Record, 11 April
    Gabrielle Moser, ‘Player Stateside’, Canadian Art online, 17 March
    Roberta Smith, ‘Geoffrey Farmer’, The New York Times, 10 March
    Michael Wilson, ‘Critics’ Picks: Geoffrey Farmer at Casey Kaplan’, Artforum, 24 February
  • 2010 Aaron Peck, ‘Critics’ Picks: Geoffrey Farmer: Every Letter in the Alphabet’, Artforum, 16 November
    Kevin Griffin, ‘Creamier rises to the top: Vancouver contributes to top 100 emerging artists’, The Vancouver Sun, 26 May
    Rachelle Sawatsky, ‘Geoffrey Farmer’, Art Papers, May/June
  • 2009 Emily Falvey, ‘Nomads’, Canadian Art, Fall
    Sarah Milroy, ‘Artists in a Land of Wanderers’, The Globe and Mail, 25 April
  • 2008 Dan Adler, ‘Geoffrey Farmer: Musée d’art contemporain de Montréal’, Artforum, September
    Nicholas Brown, ‘Geoffrey Farmer: Forgetting Air/Gareth Moore: As a Wild Boar Passes Water’, C Magazine, No. 99, Autumn
    Katherine Bovee, ‘Geoffrey Farmer: Montreal’, Art Papers, July/August
    Lee Henderson, ‘Quasi Models: Thising and Thating in the World of Geoffrey Farmer’, Border Crossings, No. 106, Spring
    Pierre Landry, ‘Geoffrey Farmer’, Le journal, Musée d’art contemporain de Montréal, Spring
    Sarah Milroy, ‘The Expressive Potential of Detritus’, The Globe and Mail, 23 February
    Leah Sandals, ‘Deconstruction Junction’, The National Post, 15 February
    Henry Lehmann, ‘History Shown As Montage, and as Rigidly Linear’, The Gazette, 9 February
    Pil and Galia Kollectiv, ‘The World as Stage’, Art Papers, January/February
    Kim Dhillon, ‘Geoffrey Farmer’, Frieze, No. 112, January/February
  • 2007 Mark Clintberg, ‘Geoffrey Farmer: The Drawing Room’, Canadian Art, Vol. 24, No. 4, Winter
    Sarah Andress, ‘Geoffrey Farmer at the Drawing Room’, Art on Paper, Vol. 12, No. 1, September/October
    Marie de Brugerolle, Jessica Morgan and Catherine Wood, ‘The World as a Stage III’, Tate, etc., Issue 11, Autumn
    Jérôme Delgado, ‘Biennale de Montréal 2007: pas morte, c’est déjà ça!’, Vie des Arts, No. 207, Summer
    J.J. Charlesworth, ‘The Last Two Million Years’, Time Out London, 13-19 June
    Jessica Morgan, ‘Top Five: what to see this month’, ArtReview, June
    Andrew Bonacina, ‘Entrepreneur alone returning back to sculptural form’, Uovo, No. 13, April
    Colleen Brown, ‘There is a Horizon’, Fillip 5, Volume Two, Number Two, Spring
    Rosemary Heather, ‘Geoffrey Farmer: Catriona Jeffries Gallery’, Flash Art, January/February
  • 2006 Clint Burnham, ‘The plane wonder of it all’, The Vancouver Sun, 11 November
    Earl Miller, ‘Law and Ordering: On Evaluating Recent Canadian Neoconceptualism’, C Magazine, No. 91, Autumn
    R. M. Vaughn, ‘Antwerp Diary’, Canadian Art, Vol. 23, No. 2, Summer
    Julia Dault, ‘A Room of One’s Own’, The National Post, 15 June
    Clint Burnham, ‘Artworks challenge and intrigue’, The Vancouver Sun, 3 June
    Sarah McFadden, ‘Intertidal: Vancouver Art and Artists’, Art Papers, Vol. 30, May/June
    Dan Adler, ‘Geoffrey Farmer at the Power Plant’, Art in America, February
    Andrea Carson, ‘Geoffrey Farmer and Joelle Tuerlinckx’, Art Papers, Vol. 30, January/February
    Jessica Morgan, ‘First Take: Jessica Morgan on Geoffrey Farmer’, Artforum, Vol. 44, No. 5, January
  • 2005 Jessica Morgan, ‘Future Greats 2005’, ArtReview, December 2005/January 2006
    Clint Burnham, ‘Scattered and Sublime’, The Vancouver Sun, 26 November
    Clint Burnham, ‘A body of work that somehow makes us forget it’s art at all’, The Vancouver Sun, 5 November
    Jennifer Van Evra, ‘Where the truth really lies’, The Globe and Mail, 28 October
  • 2004 Clint Burnham, ‘Aperto Vancouver’, Flash Art, November/December
    Kitty Scott, ‘What Are You Looking At? New Art Through the Eyes of Ten Professionals’, Art On Paper, Vol. 8, No. 5, May/June
    Lee Henderson, ‘Artist’s exploded parade float shoots decorative shrapnel’, The Vancouver Sun, 17 April
    Deborah Campbell, ‘The New School’, Vancouver Guestlife
  • 2003 Samir Gandesha, ‘Vancouver, British Columbia’, Art Papers, Vol. 27, No. 6, November/December
    Suzanne Richard, ‘Un magicien réaliste’, Voir, 7–13 August
    Michael Turner, ‘Wall and Void’, Modern Painters, Vol. 16, No. 2, Summer
    Nancy Tousley, ‘Cool Cooler Coolest’, Canadian Art, Vol. 20, No. 2, Summer
    Christopher Brayshaw, ‘Security and Anxiety Post-9/11’, The Georgia Straight, 5–12 June
  • 2002 Marc Mayer, et al., ‘The Next Generation’, Time, 14 October
    Morgan Falconer, ‘The Beachcombers’, Contemporary, No. 43, September
    Robin Laurence, ‘Farmer Fabricates Objects out of Dream Factory’, The Georgia Straight, 11–18 July
    Michael Scott, ‘Illusions, Perceptions and the Working Man’, The Vancouver Sun, 29 June
    Christian Giroux, ‘Rewind: Geoffrey Farmer’, Canadian Art, Vol. 19, No. 1, Spring
    Melanie O’Brian, ‘Promises: Espousal and Constraint’, Mix, Vol. 27, No. 4, Spring
  • 2001 Jessica Wyman, ‘Review: Universal Pictures 3’, C Magazine, No. 72, Winter
    Kenneth Hayes, ‘Universal Pictures 3 at the Blackwood Gallery’, Mix, Vol. 27, No. 3, Winter
    Christopher Brayshaw, ‘Geoffrey Farmer’, The Georgia Straight, 15–21 November
    Michael Scott, ‘Gallery Lives Up to Promises’, The Vancouver Sun, 15 November
    Michael Scott, ‘Domestic Decay’s Big Day in Art: Geoffrey Farmer’s Mess Challenges the Nature of the Creative Process’, The Vancouver Sun, 10 November
    Sarah Milroy, ‘The Best of the Rest’, The Globe and Mail, 3 November
    Reid Shier, ‘Hunchback Modern: The Art of Geoffrey Farmer’, Canadian Art, Summer
    Douglas Coupland, ‘Critical Mass’, The Globe and Mail, 12 May
  • 2000 Michael Scott, ‘The Excitement of the Everyday’, The Vancouver Sun, 19 April
    Matthew Teitelbaum, ‘Hunchback Kit’, Present Tense: contemporary project series no. 16, Art Gallery of Ontario, September/November
  • 1999 Eileen Sommerman, ‘Good and Far’, Canadian Art, Winter
    Ashley Crawford, ‘The biennial’s big night’, The Age, 13 May
  • 1998 Ken Lum, ‘Six: New Vancouver Modern’, Canadian Art, Vol. 15, No. 2, Summer
    Robin Laurence, ‘Slacker-generation Artists Take Out the Pop-culture Trash’, The Georgia Straight, 5–12 March
    Sarah Milroy, ‘An Eyeful of Irony’, The Globe and Mail, 14 February
  • 1997 Marilu Knode, ‘New Vancouver Art: Deliberately Pushy’, Art/Text, No. 59, Nov 1997–Jan 1998
    Reid Shier, ‘Geoffrey Topham’, Poliester Magazine, Fall

Published Writing by the Artist

  • 2018 Geoffrey Farmer, ‘Escaping a Method’, Beautiful World, Where Are You?, Art Books Publishing, London, UK
  • 2017 Geoffrey Farmer, ‘A way out of the mirror’, Canadian Art, Spring
  • 2015 Geoffrey Farmer, ‘I Wasn’t Going to Talk about Islands but in the End I Did’, Jerry Pethick: Shooting the Sun/Splitting the Pie, Vancouver Art Gallery, Vancouver and Black Dog Publishing, London
  • 2014 Geoffrey Farmer, ‘Boneyard Index’, Mousse Magazine, No. 46
  • 2010 Geoffrey Farmer, ‘How I Found Out That Jesus Was A Mushroom (What I Did On My Summer Vacation)’, Pyramid Power, Spring/Summer
  • 2008 Geoffrey Farmer, ‘Forgetting Air: Titles, Notes, and Fragments’, Geoffrey Farmer, Witte de With Center for Contemporary Art, Rotterdam, the Netherlands
    Geoffrey Farmer, ‘When the Wheel Turns, Why Does a Pot Emerge?’, in Public 38: Projects for a Small World, eds. Gregory Burke and Christine Davis, Fall
  • 2007 Geoffrey Farmer, ‘Notes on a Cover Image’, Vancouver Art and Economies, Artspeak and Arsenal Pulp Press, Vancouver
  • 2003 Geoffrey Farmer, ‘Letter of Apology’, Geoffrey Farmer, Contemporary Art Gallery, Vancouver

Public Art Projects

  • 2009-2010 Every Letter in the Alphabet, Vancouver

Residencies

  • 2014 Below Another Sky, commissioned by the Scottish Print Network, Edinburgh Printmakers, Edinburgh, Scotland
  • 2011 Kadist Art Foundation, Paris, France
  • 2010 Theatre of Erosion or I Hate Work That is Not a Play, lead faculty, The Banff Centre, Banff, Canada

Awards

  • 2013 The Gershon Iskowitz Prize, Art Gallery of Ontario, Toronto, Canada
  • 2011 The Hnatshyn Foundation Visual Arts Award
  • 2008 Victor Martyn Lynch-Staunton Award, Visual Arts, Canada Council for the Arts
  • 2003 VIVA Award, Jack and Doris Shadbolt Foundation for the Visual Arts, Vancouver, Canada