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HANNAH HEER, born in Vienna, is a filmmaker and artist, who is working in a variety of media, including film, video, installation, photography and cinematography. After numerous years in New York City, she currently lives in Vienna.

Hannah Heer came to prominence in the 1980s, when she was a pioneer Director of Photography on independent feature films. Based in New York City, she was invited to photograph such independent classics, like SUGARBABY (Zuckerbaby, 1985) in Munich, directed by Percy Adlon, starring Marianne Sägebrecht, DECODER (1983) in Hamburg, by Muscha and Klaus Maeck, DOG’s NIGHT SONG (Kutya éji dala, 1982) in Budapest, directed by Gábor Bódy, and SUBWAY RIDERS (1979-81) in New York City, directed by Amos Poe, a film which she also produced. Those films were invited to the Forum, Berlinale, for four consecutive years.

In 1981, Hannah Heer declared "Cinematography is Painting with Light", and "Each Frame is a Painting". In her work on feature films, Hannah Heer transcended the story with empathy and passion into visuals through lighting and camera movements: "In doing so, I shape the colors in close context with symbolic, psychological, poetic, and personal experiential values".

Following the success of SUGARBABY at the New York Film Festival, film historian Annette Insdorf interviewed Hannah Heer for the Sunday issue of The New York Times (Nov 17, 1985) for a feature article, "In 'Sugarbaby', Style Enhances Content". In the May 1986 issue of American Cinematographer Hannah Heer's work as Director of Photography was profiled by the film critic Joel L. Weinberg.

SUGARBABY, distributed in the USA by Donald Krim/Kino International, was a critical as well as a commercial success. The film was theatrically released in all major cities in the USA; e.g. in New York City it had a long theatrical run at Lincoln Plaza Cinemas uptown before it continued to be shown at Quad Cinema downtown.

Hannah Heer's groundbreaking documentary filmessays include DER ANDERE BLICK (THE OTHER EYE, 1991) about life and work of G.W. Pabst, and DIE KUNST DES ERINNERNS (THE ART OF REMEMBRANCE - SIMON WIESENTHAL, 1995). Both films were produced and directed by Hannah Heer in collaboration with Werner Schmiedel, and photographed by Hannah Heer.

For THE ART OF REMEMBRANCE, composer John Zorn provided the original soundtrack; the film was short-listed for an Oscar® in 1996.

Other samples for Hannah Heer's engaged work are the video installation ON MEMORY (in collaboration with Werner Schmiedel), which was commissioned by MAK, Museum of Applied Arts, Vienna, in 1988, and the short film, KOL ISHAH - THE RABBI IS A WOMAN.

Hannah Heer's video art work include GOLD (1983-85), a 3-part-video, and GOLD - SUDDENLY GOLD IMAGES (1985). The multi-media installation GOLD - SUDDENLY GOLD IMAGES was commissioned by the World Wide Video Festival for the Gemeentemuseum in The Hague (NL), and the three part video GOLD was acquired by the Neue Berliner Kunstverein (n.b.k.).

In DANCING EMPIRE (2010-2018, series, c-prints), Hannah Heer uses camera movements to transfer her cinematographic color language into still photography. The result allows the viewer a new perspective on the architectural icon of the 20th century. As of 2021, Hannah Heer is working on several film and mixed media projects.

Hannah Heer’s work has been invited to international film festivals, such as the London Film Festival; the New York Film Festival; the Berlin Film Festival; the Deauville Film Festival, France; Figueira da Foz, International Film Festival, Portugal; the Rotterdam International Film Festival, Netherlands; the World Wide Video Festival in The Hague, Netherlands; the Denver International Film Festival, Telluride Film Festival, Colorado; the Jerusalem Film Festival, Israel; the Human Rights Watch Film Festival, New York, Los Angeles, Seattle; the Budapest Film Week, Hungary; the Diagonale, Salzburg, Austria; the Bombay (Mumbai) Film Festival, India; the Montreal Film Festival, Canada; the Sao Paulo Film Festival, Brazil; Fort Lauderdale Film Festival, Florida; the Viennale, Vienna, Austria; the Jewish Film Festival, Vienna; the Valladolid Film Festival, Spain; the San Francisco International Video Festival, California; the Videonale, Bonn, Germany; Kind of Blue Jazz Film Festival, Milan, Italy.

Hannah Heer’s fims were screened at Museums, like The Whitney Museum of American Art, New York; the Museum of the Moving Image in New York, Museum of Fine Arts, Houston,Texas; the National Gallery of Art, Washington, DC; Institute of Contemporary Arts (ICA), Boston; the Austrian Filmmuseum in Vienna; Deutsches Filmmuseum in Frankfurt am Main; the Munich Filmmuseum; the New York Public Library, New York City.

From 1991-93 Hannah Heer was Guest-Professor at the University of Music and Performing Arts Vienna (Universität für Musik und Darstellende Kunst - Filmakademie Wien). In 1991, Hannah Heer became the first woman who was hired by the Filmakademie Vienna as a Professor to teach Cinematography.

She also taught at the University of Applied Arts Vienna (Universität für angewandte Kunst Wien), the School of Visual Arts (SVA) in New York, and she has been invited to give lectures and presentations at colleges, universities and museums in the USA, Canada, and in Europe.

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