About

Amanda Beech makes artworks, writes and collaborates on curatorial projects. Her research looks to the possibilities of a realist critique in the context of neo-liberal democracy by examining the tenability of a politics in the context of contingency. Her work is a research of art's material and forceful claims both in the architecture of exhibition making and in discrete works, constructing narratives that take in particular biographies, social mythologies, philosophical inquiry and political argument. Operating as a space of seductive power, will and force the work looks to a world that emphasises decisiveness as its guiding principle and that deals with our share in it.

Her work in video, drawing, print and sculpture has been exhibited internationally, including solo exhibitions: Final Machine, Lanchester Gallery Projects, Coventry, UK and Ha Gamle Prestagard, Stavanger, Norway, 2013, The Church, The Bank, The Art Gallery, Banner Repeater, London, 2012, Sanity Assassin, The Armoury Show, Los Angeles, 2011, and Spike Island Bristol, 2010.

Group exhibitions include: Urbicide, Venice, Italy, 2012, The Real Thing, Tate Britain, 2010, Predators and Pests, (with Diann Bauer) 2011, LoBe Gallery, Berlin, and Greetings Comrades, the Image has Now Changed its Status, Occular Lab, Melbourne, Australia, 2010.

Recent writing includes: “Concept without Difference” in Realism, Materialism, Art, Sternberg Press, 2013; “An Exercise in Fatality” (an essay on image-power-knowledge in the TV series Columbo), Burnt Wood Stories, Anthony Gross, ed., The Agency Gallery, London, 2011, Transmission: Host (Artwords 2010), “The Friend” (Artwords, 2010) and “Body Count” Parallax Journal, April, 2010 co-authored with Robin Mackay.

Recent publishing includes: Final Machine, 2013 Urbanomic Press; Episode, Pleasure and Persuasion in Lens- based Media, Artwords Press, 2008, and, Sanity Assassin, 2010 Urbanomic Press.

Amanda regularly speaks at conferences and symposia; including a keynote at Exhibiting Video, Westminster University, London 2012, Object Oriented Thinking, The Royal Geological Society, London 2012, and, the CAA (College Art Association, USA) and AAH (Association of Art Historians, UK) conferences. She is a member of the steering committee for The Political Currency of Art Research Group and is Dean of Critical Studies at CalArts, California.

For further information about Amanda Beech's art work and writing, please visit: