HANNAH HEER was born in Vienna. She is an award-winning filmmaker and artist, who is working in numerous media, including film, video, installation and photography.
Hannah Heer's documentary film, KOL ISHAH: THE RABBI IS A WOMAN (2007/2010), opens a window into the world of four diverse women rabbis. Hannah Heer's previous film work include the groundbreaking feature length documentary films, THE ART OF REMEMBRANCE - SIMON WIESENTHAL (1995), and THE OTHER EYE; both films were produced and directed by Hannah Heer in collaboration with Werner Schmiedel. THE ART OF REMEMBRANCE has an original score by John Zorn and was short-listed for an Oscar in 1996.
Hannah Heer's media and photography artwork include conceptual pieces as well as poetic forms.
Hannah Heer created GOLD (1983-85), a 3-part-video by Hannah Heer & Werner Schmiedel, and GOLD - SUDDENLY GOLD IMAGES (1985). GOLD is a Multi-Media Installation, which was commissioned by the World Wide Video Festival for the Gemeentemuseum in The Hague. In 2012, Hannah Heer & Werner Schmiedel created a fourth video in this series, entitled GOLD - Variation.
Hannah Heer is known for her innovative lighting design as Director of Photography on feature films; her credits include the films SUGARBABY (1984), DECODER (1983), DOG’s NIGHT SONG (1982) and SUBWAY RIDERS (1981).
Hannah Heer was guest professor at the University of Music and Performing Arts Vienna (Film Academy Vienna), she taught at the University of Applied Arts Vienna, and she gave Lectures at Colleges in the USA.
Besides TV screenings on three continents, Hannah Heer’s films, videos and art work have been invited to prestigious international film festivals, such as the Telluride Film Festival, the New York Film Festival, the Berlin Film Festival, the Jerusalem Film Festival, the London Film Festival, the World Wide Video Festival im The Hague, the San Francisco Video Festival, the Bombay Film Festival, the Sao Paulo Film Festival, and many others. Hannah Heer's work is also shown at Movie Theaters, Colleges, Libraries, Community Centers, Synagogues, Galleries and Museums, and is represented in public and private collections in the USA and in Europe.
Hannah Heer's work has been reviewed in numerous newspapers and magazines, including the Los Angeles Times, the LA Weekly, the Hollywood Reporter, the New York Times, Variety, the Philadelphia Inquirer, the Boston Globe, and many others both in the USA and in Europe.