École Nationale Supérieure des Beaux-arts de Paris, 1992
Parsons School of Design
Amy Bessone, a Los Angeles based painter, depicts small porcelain figurines blown up to monumental size against monochromatic backgrounds resembling photographic and theatrical backdrops. The figures are assigned a new layer of meaning by Bessone. Originally functioning as tchotchkes or collectibles, figurines such as these serve as religious and secular devotional objects. They are placed on mantles and in cluttered curio cabinets. They make up motley crèches. By rescaling and decontextualizing them, Bessone creates for the figures their own isolated psychic spaces. While they engage the viewer in a performative, almost animated way, they remain frozen, detached as a function of Bessone's brush. Like Picasso's saltimbanques, they appear removed from the show they are meant to perform. The original nature of these figurines as kitschy fetish objects shifts to a new, more monumental aloofness. As fetishes in the Marxist sense, they appear unattached from their origins, free-floating and deceptive. The nudes take on another role as highly desirable sexual fetish objects.
1995 De Ateliers, Amsterdam, The Netherlands
1993 BFA, Parsons Paris School of Design, Paris, France
1992 lÉcole nationale supérieure des Beaux-arts, Paris, France
1989 Barnard College, New York, NY.
SELECTED SOLO EXHIBITIONS
2008 Salon 94, New York, NY
Salon 94 Freemans, New York, NY
2007 David Kordansky Gallery, Los Angeles, CA
2002 Xavier Hufkens, (w/Thomas Houseago), Brussels, Belgium
2000 Les Salles Étrangères, Art&Com (Véronique de Bellefroid), Brussels, Belgium
1999 Amy Bessone: New Paintings, Buro Empty, Amsterdam, The Netherlands
1997 Amy Bessone: Schilderijn en Tekeningen, DNB, Amsterdam, The Netherlands
SELECTED GROUP EXHIBITIONS
2006 Red Eye: Los Angeles Artists from the Rubell Family Collection, Miami, FL.
Transformers, Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV.
Hotel California, Glendale College Art Gallery, Glendale, CA.
2005 Both Ends Burning, David Kordansky Gallery, Los Angeles, CA.
b.a.-ba, un choix dans la collection du Frac Bretagne, Domaine de Kerguéhennec, Bignan
2001 Proposition 1 (Peinture), Art&Com (Véronique de Bellefroid), Brussels, Belgium
1999 Archétype, Kanal 11 (Véronique de Bellefroid), Brussels, Belgium
1998 Aanwinsten 1997, DNB, Amsterdam, The Netherlands
1997 Comité'97, Harderwijk, The Netherlands
1996 Young Artists I, Sabine Wachters Fine Arts, Brussels, Belgium
Group Show, Sabine Wachters Fine Arts, Brussels, Belgium
2007 Turner, Elisa, "Rubell exhibit explores the West Coast scene," Miami Herald, April 1, 2007
2006 Garnet, Daisy, "The Collector: Why the Collector Mera Rubell Keeps it All in the Family."
The New York Times Magazine, December 3
2005 Both Ends Burning, David Kordansky Gallery, October 2005
2002 "Hot Tickets, Exhibitions: Amy Bessone, Thomas Houseago", The Bulletin, September 19
1997 De Vries, Marina, "Spontane Figuren", in Het Parool, September 11
Keijer, Kees, "Our little experiment", Comité'97 Catalogue, June
Museum of Contemporary Art, Los Angeles, CA
Frac Bretagne, Chateaugiron, France