b. 1975, Chicago, IL
Lives and works in Los Angeles, CA
Ross-Ho’s work brings together seemingly oppositional languages and spaces: personal imagery and autobiographical artifacts are mined for formal qualities; traces and residues from studio practices are meticulously re-created as deliberate gestures; boundaries between private work and public display are collapsed. She revisits images and forms in multiple iterations, creating scale shifts, moving among different media, or using positive and negative structures.
Amanda Ross-Ho was born in Chicago in 1975. She currently lives and works in Los Angeles. Ross-Ho has exhibited widely in museums and galleries worldwide, including solo exhibitions at Bonner Kunstverein, Bonn (2017); Vleeshal, Middleburg (2016); Praz-Delavallade, Paris (2015); The Museum of Contemporary Art, Cleveland (2014); and the Museum of Contemporary Art, Los Angeles (2012). Her work has been included in group exhibitions at The Walker Art Center, Minneapolis (2016), Orange County Museum of Art, Newport Beach (2011); Henry Art Gallery, Seattle (2010); the Museum of Modern Art, New York (2010); the Whitney Biennial, New York (2008); among many other institutions.
All images © Amanda Ross-Ho.
Amanda Ross-Ho is included in the group exhibition West by Midwest at the Museum of Contemporary Art, Chicago
Amanda Ross-Ho presents a new exhibition for the Dodd Galleries comprised of video, sculpture and textiles. Continuing her ongoing interest in the recursive ecologies of observed phenomena, sites of production, and individual versus collective experience, THIS IS A DEVELOPING STORY combines amplified forms into a theatrical tableau.
Jessica Stockholder and Amanda Ross-Ho are included in MOCAD's exhibition titled 99 Cents or Less, curated by Jens Hoffmann, Susanne Feld Hilberry Senior Curator at Large. The large-scale exhibition explores themes of consumption, globalization, labor and income inequality.
Vleeshal is pleased to present UNTITLED PERIOD PIECE, a solo exhibition of new work by Amanda Ross-Ho. UNTITLED PERIOD PIECE continues Ross-Ho’s exploration of labor, time and economy. The exhibition will be Amanda Ross-Ho’s first solo exhibition in the Netherlands and is co-commissioned with Bonner Kunstverein, where it will open on January 27 and run to April 2 2017.
Featuring works by some 30 artists, Ordinary Pictures surveys a range of conceptual image-based practices since the 1960s through the lens of the stock photograph, an under-researched yet pervasive aspect of our visual culture. Despite its apparent throwaway status, the stock image comprises the primary commodity of a billion-dollar global industry with far-reaching effects in the marketplace and the public sphere.
The Rubell Family Collection/Contemporary Arts Foundation is pleased to announce its upcoming exhibition, NO MAN’S LAND: Women Artists from the Rubell Family Collection, on view in Miami from December 2nd, 2015 through May 28th, 2016. This exhibition will focus on and celebrate work made by more than a hundred female artists of different generations, cultures and disciplines. These artists will be represented by paintings, photographs, sculptures and video installations that will entirely occupy the Foundation’s 28-gallery, 45,000-square-foot museum. Some galleries will contain individual presentations while others will present thematic groupings of artists. Several installations have been commissioned specifically for this exhibition.
WHO BURIES WHO is a new installation by Amanda Ross-Ho that demonstrates her vested exploration into photography as an analogue to experience, the archaeology of activity and time as a material. The artist has transformed the gallery into a cryptic tableau, operating as both theatricised photography studio and abstracted crime scene. Employing symmetry, scale shifts and a forensic gaze, she creates an environment reminiscent of sites of production, examination and dramatisation.
You are Here has been conceived around several contemporary artists whose art re-imagines the body and its boundaries. Incorporating a symbolic figurative presence as an alternative to the external appearance of a human figure – a traditional marker of our existence – these works locate the body through spaces, materials, sensations, and information that exist in relation to it (and to us).
Los Angeles–based artist Amanda Ross-Ho’s first outdoor public art project, THE CHARACTER AND SHAPE OF ILLUMINATED THINGS, explores how photography is similar to the act of seeing. Updating Joseph Beuys’s famous declaration “Everyone is an artist,” Ross-Ho suggests more specifically that today everyone is a photographer, as the ubiquity and speed of digital photography shapes the way we view and experience the world.
The Museum of Contemporary Art presents AMANDA ROSS-HO: TEENY TINY WOMAN, on view at MOCA Pacific Design Center from June 23 through September 23, 2012. Amanda Ross-Ho is one of the leading Los Angeles artists of her generation and this new installation is her largest and most ambitious exhibition to date.
Amanda Ross-Ho will be included in the exhibition Not the Way You Remembered at the Queens Museum of Art from April 10 - August 14. As museums have mounted more exhibitions from their permanent collections, revisiting their archives and breathing new life into years’ worth of holdings, this generation’s artists are also looking back-revisiting materiality, composing and recombining nontraditional materials, perhaps out of necessity, or as a comment on a collective loss of intimacy through lives lived online. NOT THE WAY YOU REMEMBERED explores how collecting and displaying personal, physical objects creates and recreates memories and associations, both individual and collective. Participating artists are Taylor Baldwin, Clifford Borress, Barb Choit, Brendan Fowler, Ted Gahl, Rashawn Griffin, Faten Kanaan, Zak Kitnick, Jason Lazarus, Lauren Luloff, Dave Murray, Amanda Ross-Ho, Jean Shin, Hayley Silverman, Agathe Snow, and Bryan Zanisnik. The exhibition is curated by Jamillah James, Queens Museum of Art Van Lier Fund Fellow.
During the course of this evolving on-site work, Amanda Ross-Ho will invite viewers to become participants in an ongoing examination of the boundaries of the white cube, the direct and indirect products of creative expression, and the connectivity of the visual world. Her site-specific installation will transform the Vaulted Gallery into an active worksite dedicated to producing three basic elements: blank stretched canvases, simple hand-built ceramic vessels, and handmade paper. Ross-Ho collapses the life cycle of the creative process through the performative act of embedding the gallery with the energy of production. The three manifestations of the ‘empty’ space produced—canvas, vessel, page—will create an environment that both formalizes the ability for massive potential and serves as witness to mass activity.
MoMA's New Photography 2010 presents four artists—Roe Ethridge, Elad Lassry, Alex Prager, and Amanda Ross-Ho—whose photographs, taken in the real world and made in the studio, mine the inexhaustible reservoir of images found in print media, television, and cinema.
Mitchell-Innes & Nash is pleased to announce Amanda Ross-Ho in Production Site: The Artist's Studio Inside-Out February 6 - May 30, 2010 at the Museum of Contemporary Art, Chicago. The exhibition reflects and addresses the pivotal role of the studio in artists' practice while alluding to its enduring status in the popular imagination. The works that comprise Production Site include multi-channel video projections, photographic light-boxes and installations, and life-sized fabrications of artists' studios -- real and imagined -- that either extol the virtues of the studio or problematize the preconceived and often highly romanticized notions associated with it. The exhibition provides the viewer with an unprecedented and illuminating look at how some of the most compelling artists of our time have demystified, remystified, and reconsidered this site within the physical and conjectured space of the work of art.
"Project Series 40: Amanda Ross-Ho The Cheshire Cat Principle" will be on view January 23 through April 11, 2010, at the Pomona College Museum of Art in Claremont, CA. An opening reception will be held at the Museum on Saturday, January 23 from 4-6 p.m. Amanda Ross-Ho will present a public lecture about her work on Tuesday, March 2 at 10:30 a.m. in the Museum.
Mitchell-Innes & Nash is pleased to announce Chris Martin and Amanda Ross-Ho in Abstract America at the Saatchi Gallery, May 29, 2009 - January 17, 2010. Thirty-five artists are in the exhibition, representing an exciting new generation of American painters and sculptors.
Mitchell-Innes & Nash is pleased to announce Amanda Ross-Ho's participation in Wallworks at the Yerba Buena Center for the Arts in San Francisco. Wallworks is the highly anticipated curatorial debut of Betti-Sue Hertz, YBCA's newly appointed Director of Visual Arts.
2008 California Biennial Newport Beach and Orange Lounge, South Coast Plaza
The 2008 California Biennial continues the Orange County Museum of Art's four-decade long history of presenting new developments in California art. This year's biennial is guest-curated by Lauri Firstenberg, founder and director/curator of LAXART in Los Angeles.
Mitchell-Innes & Nash is pleased to announce the participation of Amanda Ross-Ho in the exhibition co-curated by Shamim M. Momin (Co-Curator of the 2004 and 2008 Whitney Biennials) and New York-based artist and curator Nate Lowman at the Station, Miami. The Station's artworks include commissioned, site-specific installations, new works, and borrowed works, set within the massive 12,000 square foot space. The Station 2008 will take place from December 3rd through 7th at Midblock East in the Midtown Miami District, 3250 NE 1st Avenue/Midtown Boulevard, Miami, FL 33137. The exhibition will be open during the hours of 12pm – 9pm. There will be a musical performance featuring Lansing-Dreiden and New Humans on the evening of Thursday, December 4th, from 9pm – 1am.
Mary Mary is pleased to present HURTS WORST, Amanda Ross-Ho’s first solo exhibition at the gallery. The show will feature a suite of new large scale textile assemblages, and a group of small text-based paintings.
The exhibition also included six aluminum sculptures of clock hands hung near the gallery's entrance and, in the center of the space, two broad white tables covered with all manner of paraphernalia one might find in a studio, or in a carry-on bag: coins, X-Acto knife blades, scrunchies, gloves, wine glasses, and sleep masks. As she had done in previous work, Ross-Ho played with scale in this arrangement by including exaggeratedly large or miniaturized versions of some of the objects, such as jumbo paper clips and tiny beverage bottles.
‘Even a stopped clock gives the right time twice a day.’ That stoner koan from the 1987 comedy Withnail & I floated into my mind while looking at Amanda Ross-Ho’s solo show at Mitchell Innes & Nash. Twelve large clock faces, scrawled with colourful brush-marks, and pencilled notes-to-self, line the walls. The dials are missing their hands. These are hung in a forlorn line, each set to half-past six, near the entrance to the show. If the clock faces tell us that time is one subject of Ross-Ho’s show, then the dirty, outsized wine glasses, cups, forks, art materials and tools scattered across two big tables in the centre of the gallery tell us that scale is her other topic.
In some regards, size has always mattered to Amanda Ross-Ho. It’s hard to even recall a show of hers in which she hasn’t taken a common object and enlarged it to an uncommon size. In her 2012 show at MOCA’s Pacific Design Center, Teeny Tiny Woman, Ross-Ho even went so far as to create an oversize photo enlarger, underscoring her impressive sense of both scale and formal wit. With several years of practice under her belt since then, however, Ross-Ho’s simple enlargements have seemed to evolve quite considerably, perhaps best exemplified by My Pen is Huge, Ross-Ho’s new exhibition at Mitchell-Innes & Nash, which sees her adding to own work’s discourse by including life size objects alongside her oversized sculptures.
Los Angeles-based artist Amanda Ross-Ho has built a career focusing on the studio as locus, metaphor, and container for the creative process. Keeping her interests tethered to this line of inquiry has given her the freedom to cover a swath of art practices including sculpture, painting, photography, installation, and performance. In MY PEN IS HUGE, she gives us a book of hours aimed not at religious devotion but rather devotion to creativity, parsed into minute snippets of time.
Last summer, around the time she lost the lease on her downtown-Los Angeles studio of nearly a decade, Ross-Ho found a collection of paper clock faces being unloaded by their manufacturer on eBay. These handless invocations of disorientation and eternity became her work surfaces and scratch pads until this past August, which she spent in the gallery painstakingly reproducing them as four-and-a-half-foot-square paintings. One is covered with doodled cubes, masks of tragedy, and hasty ballpoint notes like “Avoid grinding over steaming pots”; in another, the clock face is simply painted red. Along with an installation of novelty-sized objects both store-bought and custom-made—giant wineglasses, minuscule bottles of Evian water—the work suggests a powerfully unnerving vision of time as a procession of banal decisions adding up to something irrevocable. Six sets of large powder-coated clock hands hanging on the front wall make a fitting addendum.
“MY PEN IS HUGE” was absolutely perfect as a title because it did about 15 things at the same time. Language has this ability to do what I want my work to always be able to do, which is to have an elasticity and mutability. I loved the redundancy of naming what was actually happening in the show—which is about scaling my own mark-making larger. Also it’s obviously a piece of wordplay that’s supposed to fool you, this quick joke. And then it’s specifically about male arrogance, and the fallibility of it.
Amanda Ross-Ho’s show, “My Pen is Huge,” is like jumping through a rabbit hole and into a world where the gallery, Mitchell-Innes & Nash, has become a mad theater. The oversized wine glasses, blown-up hands of grandfather clocks, and other random objects are feel somehow completely necessary in the room. Coffee stains and pen scribbles cover the canvas and tables in the middle of the gallery. This show completely captures chaos in its most whimsical form.
In the weeks leading up to her current exhibition, MY PEN IS HUGE, at Mitchell-Innes & Nash, Amanda Ross-Ho prepared for the show in the gallery space in which her work would be on display. Poet and art writer John Yau visited her during this process.
In an exhibition created within the walls of its display place, Los Angeles-based artist Amanda Ross-Ho installs (and creates) her latest exhibits at the Mitchell-Innes & Nash Gallery in New York. This hyperbole heavy exhibition, consisting of installations, sculptures and paintings, is called ‘MY PEN IS HUGE’.
A conceptual artist known for incorporating her studio activities in a theatrical, multidisciplinary practice, Los Angeles artist Amanda Ross-Ho created her latest exhibit, titled "MY PEN IS HUGE," right in Chelsea's Mitchell-Innes & Nash gallery.
Los Angeles-based artist Amanda Ross-Ho turned Mitchell-Innes & Nash into her studio for the month of August, working in the gallery to create new paintings and sculptures for her upcoming exhibition. The central motif will be the clock, featured in 12 large-scale paintings made last month based on drawings produced over the past year—compressing a year’s worth of work into just 31 days.
“I decided to use these surfaces as a place to record the relentless conscious, and subconscious, mark-making and stenography that takes place within my immediate and intimate personal tabletop spaces.” While working within her impromptu gallery-studio, Ross-Ho says she is “forensically translating” some of these studies into a dozen large-scale paintings.
In summer 2016, Ross-Ho found a collection of vintage paper clock face dials on Ebay, being liquidated from a clock maker. She acquired all of them, identifying the poetic potential and a vacant stage for activity on the blank clock faces, which were amputated from the mechanism and components, she started a series of works that evolved across her travels. She aggregated the surfaces of the clock faces with doodles, calculations, diagrams, lists, notes to self and other anxious scribblings, combined with the residue of her consumption of food and drink, as a visual documentation of her daily activities of life and art.
To wit: For the new work of the Los Angeles-based artist Amanda Ross-Ho, “Untitled Findings (ACCESS),” she has scattered enlarged replicas of keys across Basel.
Ms. Ross-Ho’s exaggerated keys, modeled after functioning ones that open doors to real locations around the city, are almost certain to be come across by passers-by who had no expectation of a run-in with an Art Basel installation that day — chance encounters echoing the imagined accidents by which the keys were lost.
“I’ve been a big fan of Amanda Ross-Ho’s work for a long time. She makes large-scale sculptural interpretations of everyday objects, like gloves and trousers. In this vein, she’s made a keychain based on her own Carabiner keychain and a bunch of keys that seem to have fallen off and are lost throughout the streets of Basel. They’re large—maybe 60cm long. We partnered with people from the Parcours area and asked if they would You might find one down by the river, up the stairway on the other side of the road, in a private garden. give the artist a copy of their key. It makes a nice meta-portrait of the local community.”
Miranda July speaks with fellow biennial alumni artists Edgar Arceneaux, Amanda Ross-Ho, and Catherine Opie to explain the survey and share their experiences with it.
Looking at work by the artist Amanda Ross-Ho can feel a bit dizzying, and that might be something she’s going for. Since she moved to L.A., her art has become a lot about her studio practice, about creating a loop of the micro and macro aimed at giving viewers a sense of vertigo that makes them want to look closer, hyper-aware of their surroundings. Ross-Ho uses shifts in scale or material to jar us awake.
A Public Art Fund production organized by the fund’s associate curator, Andria Hickey, the exhibition presents sculptures by seven artists who have all exhibited internationally. It’s meant to address a particular condition of modern life: On the one hand, technologically mediated imagery constantly impinges on us from every direction; on the other, images are perpetually being turned into real things, like fancy cars and tall buildings. The exhibition’s introductory text panel explains, “As images are rendered into objects, and objects are circulated as images, the boundaries between the physical and the virtual are blurred, challenging us to rethink how we see the world around us.”
“Image Objects,” on view through November 20, brings digital culture to City Hall Park in New York. Organized by Public Art Fund and curated by Andrea Hickey — who also put together the sprawling group show “Objects Food Rooms,” currently on view at Tanya Bonakdar — the exhibition riffs on the complex interplay between two- and three-dimensions, between the computer-generated and the supposedly “real.” The artists on view, including Jon Rafman, Amanda Ross-Ho, and Lothar Hempel, all probe these unique tensions, often mixing cutting-edge technologies with old-fashioned materials. (Rafman, for instance, uses computer modeling software to create forms that are then hewn from marble.) In a conversation via email, I spoke with Hickey about how our obsession with sharing images of art on social media platforms is changing creative culture.
Amanda Ross-Ho's current show at L.A. MOCA's Pacific Design Center (PDC), "TEENY TINY WOMAN" [through Sept. 23], reinterprets the retrospective. Presented with the opportunity to survey her practice, the L.A.-based artist has chosen to reconfigure motifs from her practice, and display them in mutated forms on 17 large-scale Sheetrock panels made to represent, to scale, the perimeter of her downtown studio.
“TEENY TINY WOMAN” is the first solo museum exhibition in Los Angeles by Amanda Ross-Ho. On view at the MoCA Pacific Design Center from June 23 to September 23, this show finds Ross-Ho characteristically spanning the disciplines of sculpture, photography, collage, and installation in a deliberately self-referential project that draws from and remixes her own output and artistic history of the past several years.
Amanda Ross-Ho presents a photo diary of personal vignettes.
THIS LONG CENTURY is an ever-evolving collection of personal insights from artists, authors, filmmakers, musicians and cultural icons the world over. Bringing together such intimate work as sketchbooks, personal memorabilia, annotated typescripts, short essays, home movies and near impossible to find archival work, THIS LONG CENTURY serves as a direct line to the contributers themselves.
'Somebody Stop Me', Amanda Ross-Ho's title for her first New York solo show, has the platitudinous ring of a bumper sticker or the type of all-caps outburst that the American comic-strip character Cathy might make just before a frenzied spending spree at a shoe shop. (Punch-line: 'On second thought, don't!')
Taking a conceptual approach to making objects, Amanda Ross-Ho mines her life, the Internet and her own art to create poetic works that investigate how language is structured and relationships are formed.
At the heart of Amanda Ross-Ho's recent installation at Pomona College Museum of Art, the Los Angeles-based artist's first solo museum exhibition, was a giant fiberglass candy dish in the form of a smiling wide-eyed ghost - the kind of novelty home decor one might expect to fond on the shelves of Target in late October but here inflated to larger than-life proportions.
The title of Amanda Ross-Ho's recent solo show at the Pomona College Museum of Art, "The Cheshire Cat Principle," is a clear tip-off that she's an artist who thinks about invisibility. Things in her oeuvre, are not always what they seem. Working with images, objects and ideas from everywhere and anywhere--from mass culture to private life, from high-end philosophy to the diurnal routines of her feline companions--Ross-Ho sorts her gleanings in a studio world where improvisation and elaboration rule the day (and night).
"We can't get enough, because there's too much." In this statement for her nihilistically titled 2007 exhibition "Nothin Fuckin Matters," at Cherry and Martin in Los Angeles, Amanda Ross-Ho articulates a condition of cultural excess, in which freedom has become synonymous with consumer choice. In the face of a seemingly endless supply of desirable goods, we still can't get no satisfaction.
Amanda Ross-Ho's recent show, "Nothin Fuckin Matters," expanded on her ability to create disparate unions, mixing in her assemblages not only media but also unexpected formal and cultural references (think John McCracken's sensibility as interpreted by Punky Brewster, or Claes Oldenburg raiding a lumberyard) to create subtly rhetorical moves.
Los Angeles artist Amanda Ross-Ho combines a bare-bones DIY formal approach with a jaunty, high-minded conceptualism, employing sculpture, photography and installation to construct dimensional meditations on how humans occupy space. The exbition includes several examples of her mixed-media 'leaning' pieces - very large rectangles of Sheetrock leaning against gallery walls, on which are hung various photographic and canvas-based images, so that the Sheetrock panels function both as sculptural elements and as display walls themselves.