Amanda Ross-Ho
20 Sep - 01 Nov 2008
© Amanda Ross-Ho
Composite, 2008
Light jet print face mounted on acrylic: reproduction of original photograph by Peter Dean Rossi, wooden camera made by Ruyell Ho
44 3/4 x 30 3/4 inches
Composite, 2008
Light jet print face mounted on acrylic: reproduction of original photograph by Peter Dean Rossi, wooden camera made by Ruyell Ho
44 3/4 x 30 3/4 inches
AMANDA ROSS-HO
"Half Of What I Say Is Meaningless"
September 20 - November 1, 2008
Cherry and Martin presents Amanda Ross-Ho’s highly anticipated second solo exhibition of installational sculpture, photographs and works on paper.
The exhibition opens at Cherry and Martin on September 20, 2008 and runs through November 1, 2008.
The opening reception is Saturday, September 20, 2008 from 6-8pm.
Demonstrating an ongoing interest in locating understanding through inversion, Amanda Ross-Ho’s second exhibition at Cherry and Martin finds her recontextualing images and objects with intimate—rather than generic—origins. Ross-Ho’s careful mediation suggests the possible universality of the personal. Her objects display both individual qualities and 'sibling' identities, playing on traits of familial exchange and proximal relativity.
This structural examination of totalities and their constituent fragments—particularly viewed as kindred—is amplified by the presence of several works with family roots. These include photographs produced by an uncle of Ross-Ho’s who works as a commercial photographer; informal greeting card collages made by an innovative aunt; still life photos created by her artist father; and a custom quilt sewn by another aunt for the exhibition specifically at Ross-Ho's direction. Here, family structure is mined not for the nostalgic or for the autobiographical, but rather as a fertile framework of proximal relationships and connectivity as well as a peripheral zone that informs the self. Parallels are drawn between creativity and the lifecycle—forces that are prolific, cyclical, and incessant.
The show also examines the mechanics of production and presentation by tapping into the personal history Ross-Ho has established through previous exhibitions in Cherry and Martin’s gallery space. Aspects of the exhibition quote her earlier presentations in the space, directly appropriate themselves, and/or perform intentional redundancies of image or form. This approach aims to fracture the singularity of primary viewership and establish more holistic relationships between direct experience and memory, creativity and presentation, object and representation.
Amanda Ross-Ho received her MFA from the University of Southern California in 2006. Her work has been seen in such recent exhibitions as the 2008 Whitney Biennial at the Whitney Museum of American Art (New York); Nina in Position at Artists Space (New York); Depositions at Galerie Francesca Pia (Zurich); and Post-Rose at Galerie Christian Nagel (Berlin). Upcoming exhibitions include the 2008 California Biennial at the Orange County Museum of Art (Newport Beach); the Atlanta Contemporary Art Center (Atlanta); Mitchell-Innes and Nash (New York) and the Approach (London).
"Half Of What I Say Is Meaningless"
September 20 - November 1, 2008
Cherry and Martin presents Amanda Ross-Ho’s highly anticipated second solo exhibition of installational sculpture, photographs and works on paper.
The exhibition opens at Cherry and Martin on September 20, 2008 and runs through November 1, 2008.
The opening reception is Saturday, September 20, 2008 from 6-8pm.
Demonstrating an ongoing interest in locating understanding through inversion, Amanda Ross-Ho’s second exhibition at Cherry and Martin finds her recontextualing images and objects with intimate—rather than generic—origins. Ross-Ho’s careful mediation suggests the possible universality of the personal. Her objects display both individual qualities and 'sibling' identities, playing on traits of familial exchange and proximal relativity.
This structural examination of totalities and their constituent fragments—particularly viewed as kindred—is amplified by the presence of several works with family roots. These include photographs produced by an uncle of Ross-Ho’s who works as a commercial photographer; informal greeting card collages made by an innovative aunt; still life photos created by her artist father; and a custom quilt sewn by another aunt for the exhibition specifically at Ross-Ho's direction. Here, family structure is mined not for the nostalgic or for the autobiographical, but rather as a fertile framework of proximal relationships and connectivity as well as a peripheral zone that informs the self. Parallels are drawn between creativity and the lifecycle—forces that are prolific, cyclical, and incessant.
The show also examines the mechanics of production and presentation by tapping into the personal history Ross-Ho has established through previous exhibitions in Cherry and Martin’s gallery space. Aspects of the exhibition quote her earlier presentations in the space, directly appropriate themselves, and/or perform intentional redundancies of image or form. This approach aims to fracture the singularity of primary viewership and establish more holistic relationships between direct experience and memory, creativity and presentation, object and representation.
Amanda Ross-Ho received her MFA from the University of Southern California in 2006. Her work has been seen in such recent exhibitions as the 2008 Whitney Biennial at the Whitney Museum of American Art (New York); Nina in Position at Artists Space (New York); Depositions at Galerie Francesca Pia (Zurich); and Post-Rose at Galerie Christian Nagel (Berlin). Upcoming exhibitions include the 2008 California Biennial at the Orange County Museum of Art (Newport Beach); the Atlanta Contemporary Art Center (Atlanta); Mitchell-Innes and Nash (New York) and the Approach (London).