Amy Ritter (b.1986) is a Brooklyn- based artist. Ritter’s work is an exploration of her relationship to her physical self vis-à-vis mobile homes and their interior landscapes. It stages her memories of her experience of growing up in a mobile home community—a place she’s left but still feels rooted to. She received her BFA from Tyler School of Art, Philadelphia, PA and her MFA from The Ohio State University, Columbus, OH. Ritter’s solo exhibitions include Here | There at Arlington Arts Center (2016), the Sculpture Center, Cleveland, OH (2017), Fleisher Art Memorial, Philadelphia, PA (2017), and Gravy Gallery, Philadelphia, PA (2017). She was a finalist for the Print Center’s 89th annual International competition (2015), a recipient of Smack Mellon’s Hot Picks List, NY (2016), and has received numerous residencies including a full fellowship at Vermont Studio Center (2015), Fine Arts Work Center fellowship (2015-2016), a MiXER residency at D’ Clinic, Zalaegerszeg, Hungary (2015), and a residency at Skowhegan School of Painting and Sculpture (2016) and Yaddo this Fall.
Amy Ritter is currently working on a Solo Exhibition opening June 1st, 2019 at The Porch in Upstate NY & a newly commissioned installation at 125 Maiden Lane, NYC part of Art in Buildings Time Equities Program opening August, 2019
"Amy’s work is challenging. She is a provocateur, but several subtle shades below “over the top” and “in your face.” As a cisgender, mostly cissexual male viewer who considers himself a feminist, this piece smacks my masculine gaze in the mouth and makes me really consider how I am looking at it. This piece is polyvocal, several different things are speaking to you (the observer) and to each other at the same time. It is this conversation between the classical, working class aesthetics, and gender politics in this piece that raises it to the level of complexity that complicates. But then, you step back and Amy is playing with you, she is having so much fun complicating beauty. Hell, her figures are sunbathing."
-Makalani Bandele, 2014