Amanda Beech makes artworks, writes and collaborates on curatorial projects. Her research looks to the possibilities of a realist critique in the context of neoliberal 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 exhibits: 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 exhibits include: Urbicide, Workshop, 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, 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: Hospitality, 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, 2008 and Sanity Assassin, 2010 Urbanomic Press.
Amanda Beech 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 and AHH 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.