2025

This monograph examines Amanda Ross-Ho’s artistic practice from 2012 to 2023. Published by Inventory Press in Los Angeles and Vleeshal Center for Contemporary Art in Middelburg, the book is loosely connected to her solo exhibition at Vleeshal and Bonner Kunstverein in 2016–2017. Reflecting her artistic approach—focused on engaging with the material world—the book is designed as a sculptural object.

Presented chronologically, the monograph provides a visual overview of Ross-Ho’s work during this period, including images that document her techniques of scaling, replication, and the use of found objects. It examines how she uses these methods to transform everyday items into works that explore themes such as loss, time, and preservation. The artist is interested in manipulating perceptions of time and space, often through theatrical installations, and uncovers the relationship between art, labor, and systems of production. 

The book includes an essay by art critic Catherine Taft, who examines Ross-Ho’s conceptual approach to archives, materiality, and time. Taft connects Ross-Ho’s background in prop design to her ability to work with scale and her interest in objects as “evidence.” Objects, marked by use and wear, serve as traces of personal and collective histories. The essay further explores how Ross-Ho’s reflections on loss and impermanence shape her artistic practice. By acknowledging the incompleteness of archives, Ross-Ho integrates the inevitability of absence into her work, raising questions about how we document and preserve history.

A conversation between Ross-Ho and the book’s editor, Roos Gortzak, offers additional insight into the artist’s perspective on her work and the making of this publication. Ross-Ho reflects on the challenges of selecting works for inclusion, addressing the difficulty of representing a creative career within the confines of a single book.