October 19, 2018—March 10, 2019

I’m so pleased to be a part of the Skirball Center’s exhibition, which is the first museum retrospective of the Supreme Court Justice–turned–cultural icon, based upon the Internet phenomenon and bestselling book. Several of my Dissent Collars are included in the show!

“LOS ANGELES, CA—The Skirball Cultural Center announces the fall 2018 debut of Notorious RBG: The Life and Times of Ruth Bader Ginsburg, the first-ever exhibition about the trailblazing associate justice. Based on the New York Times bestselling book of the same name and created in partnership with its authors, Irin Carmon and Shana Knizhnik, the exhibition will take a deeply personal journey through historic change with an entertaining yet rigorous look at the life and work of Ruth Bader Ginsburg (RBG) and the Supreme Court. It will also examine her varied roles as a student, life partner, mother, change-making lawyer, judge, women’s rights pioneer, and pop culture icon. Notorious RBG will be on view at the Skirball from October 19, 2018 through March 10, 2019, in commemoration of the twenty-fifth anniversary of RBG’s appointment to the nation’s high court, in 1993. 

Through archival photographs and documents, historical artifacts, contemporary art that she has inspired, by such artists as Maira Kalman, Roxana Alger Geffen, and Ari Richter, media stations, and gallery interactivesthe exhibition will explore the American legal system and civil rights movements through the lens of RBG’s personal experiences and public service. Like the book, it will tell the parallel stories of her remarkable life and the efforts she joined to expand “We the People” to include those long left out of the Constitution’s promises.”

For the full press release, see the Skirball Cultural Center’s site

I’ve was also thrilled to exhibit my Dissent Collars in the Museum of Design Atlanta’s exhibition Making Change: The Art & Craft of Activism, guest curated by Betsy Greer. The show was up from June 3 - September 9, 2018 and looked amazing!

My work is on the left.

My work is on the left.

20180608_MODA Making Change Installation-5231-hires.jpg


Thank you, Wade Carey at East City Art for the great review of You, If no-one else!


"The current exhibition at Arlington Arts Center titled You, if no one else. As an exhortation, the phrase comes from a poem by Tino Villanueva included in his collection, Chronicle of My Worst Years[1]. The poem urges victims and witnesses of destitution and oppression to “put your voice where your memory is,” and to tell how the spirit of rebellion enables ways to “unlearn the lessons of that teacher, your land’s omnipotent defiler.” The show presents a spectrum of examples of political expression intertwined with works of art. The exhibition was curated by Karyn Miller, who served as Director of Exhibitions at AAC until November of last year. She has since moved to a position as Public Space Activation Curator for the District of Columbia’s Golden Triangle Business Improvement District. In her catalog notes, Ms. Miller tells us that, “planning for this exhibition began with a curiosity about the imprint a Trump presidency will have on artistic expression.”[2]

Photography and video dominate the exhibit. However, in an arresting departure, artist Roxana Alger Geffen has created a series of Dissent Collar sculptures woven together from materials at hand. She seeks to emulate Ruth Bader Ginsburg, Associate Justice of the Supreme Court of the United States. Justice Ginsburg is noted for having worn her lace robe collar, normally reserved for occasions when she is reading dissenting opinions, on the day after the 2016 presidential election. Dissent Collar #10 evokes delicacy and could be lightly worn, while others like Dissent Collar #16 and Dissent Collar #9 are larger, heavier and feel as if they might constrict the wearer’s actions. They represent a multiplicity of impulses to create tangible evidence, a residue of her anxiety and sorrow."



Dissent Collar #6 (sequin bomber)

You, If no-one else

Arlington Arts Center, Arlington, VA
January 20--March 31, 2018

Featuring work by: Kim Beck, Phil Buehler, Lizania Cruz, Mel Day + Michael Namkung, Roxana Alger Geffen, Ashley Minner, Dana Ollestad, Jon Rubin + Lee Walton, Danielle A. Scruggs, and For Freedoms

Curated by Karyn Miller

You, if no one else looks at the ways in which artists record, reflect, contribute to, rail against, and engage with politics and civic life, bringing dialogue, beauty, and nuance to their involvement in the public sphere. The title of the exhibition was inspired by poet Tino Villanueva, whose poem of the same name was included in his 1994 collection Chronicle of My Worst Years.



School 33, Baltimore, MD
January 19--February 24, 2018

A group exhibition featuring works by:
Tom Boram, April Camlin, Roxana Alger Geffen, Luke Ikard, LoVid and Rives Wiley.

Curated by Melissa Webb

Test Pattern demonstrates a collective longing for reconnection with the simplicity of the analog era, while examining the psychology of our multi-generational society post Digital Revolution. Alternating between the material and the virtual, these artists layer analog and digital technologies through the use of video and sound, textile, painting, sculpture, and live performance. Throughout their processes of making they convert voltage into data, synthesized and percussive sound into imagery, and computerized experiences into physical objects. The resulting works explore social conventions and family life in the Information Age, the handmade vs the digitally rendered, the preservation and degradation of information, and ultimately, the relationship between the simulated and the tangible.

See this review in Bmore Art: "School 33’s New Exhibit Explores A Collective Longing for Analog and an Exploration of the Post-Digital Revolution" by Mai Sennaar

SHE OPENED THE DOOR: Columbia University Women's Conference

"Art, Resistance and Responsibility" Panel with Me, Sheila Nevins '60BC, and Mabel Wilson '91GSAPP

February 11, 2018

"Dissent Collar #9 (blue lips)" / archival inkjet print

"Dissent Collar #9 (blue lips)" / archival inkjet print

'Dissent Collars' at Say What Gallery in Tannersville, NY

My Dissent Collars are being shown at the Say What Gallery in Tannersville, NY. The show is curated by Jane Curley. I had a lovely time installing this show--the gallery is a big, graceful space, the town is quirky and pretty, the Catskills are gorgeous and pleasantly ominous, and everyone associated with the gallery was terrific--smart, thoughtful and very helpful and kind. Thank you all!


 A lecture at the College of the Atlantic, in Bar Harbor, ME. 

July 6, 5-7PM
Thomas S. Gates, Jr. Community Center

I am so pleased to be invited to talk at this amazing place! I will be speaking about my Dissent Collars, and look forward to sharing this new work with the COA community. Please come.

It was all a dream

June 23 - August 25, 2017
Roxana Alger Geffen, Rives Wiley, Dave Eassa
Curated by Caitlin Berry

Carroll Square Gallery
975 F Street NW, Washington DC 20004

"The space we inhabit between dreams and waking life can often feel surreal. The rules of the physical world can be broken, disbelief set aside, and tricks of the mind performed with ease. While entering consciousness, we may ask ourselves, “Was it all a dream?” Even our waking lives can prove to be as chaotic and disorienting as this dream-state. In this exhibition three artists address the sensation of existing in a dreamlike state as it relates to their personal experiences and the world at large.

Roxana Alger Geffen calls upon the chaos of domestic life in her installations and wall constructions, using textiles and found objects. Her work is both a humorous celebration and an uncanny manifestation of every day life as a mother. Rives Wiley’s purely two-dimensional paintings evoke a disorienting sense of unease in architectural space. The figures in these works are trapped, but unaware that they exist only partially or may never be able to escape the confines of the canvas. Dave Eassa’s thickly painted pink figures engaging in various activities read as cartoonish, yet represent the deeper identities of the psyche. The figures are navigating not only the physical world, but also the emotional content of the self.

Each artist addresses the absurdity of the social, political, and societal constructs that exist in the real world, in dreams, and somewhere in between."


Review of Motherload in the April issue of Sculpture Magazine by DC curator and art historian Laura Roulet

Thank you, Laura!