Andrew Scott Ross received his BFA from the Atlanta College of Art, and his MFA at the School of the Art Institute of Chicago. He subsequently studied at the Skowhegan School of Painting and Sculpture. Ross has exhibited throughout the United States and abroad including; The Museum of Arts and Design in New York, The Museum of Contemporary Art of Georgia in Atlanta, The Guggenheim Museum in New York, The Ben Gurion Airport in Tel Aviv, The Knoxville Museum of Art, and the John Michael Kohler Arts Center. His work has been reviewed in publications such as Art in America, The New York Times, The New Yorker, Sculpture Magazine, and the Village Voice. He spent summer 2015 in Geneva, Switzerland, working at the Utopiana Artist Residency program and taking part in the exhibition La Bête et l’Adversité at Le Commun gallery of the Building of Contemporary Art.

I am interested in finding alternative methods of interpreting, recording, and visualizing history. Inspired by institutions such as the Metropolitan Museum of Art, The Smithsonian, and Wikipedia, which quixotically attempt to reflect all of cultural production, I have spent the past thirteen years investigating the logic of the encyclopedic museum. The results of these activities have taken the form of drawings videos, sculptures, and immersive environments – each work being different in material but consistently focused on the deconstruction of historical narratives; how truth relates to documentation; and how to reimagine the encyclopedic museum as a form of self-expression. My studio practice differs from most, in that many of the works I produce are never considered complete. They are exhibited multiple times, continually exposing their evolution as elements are added or mutated, and as parts are exchanged, sold or eliminated. This process of gradual transformation is similar to that which many museums undergo, as individual objects from the collection are circulated between display and storage. These shifting arrangements attempt to weave time and place while disrupting standard curatorial strategies such as chronological order or geographic specificity. Taxonomies and hierarchies are further broken down by exchanging “high” and “low” art materials, and intermingling human achievements with natural ones. Each time the works are shown the more this disruption and entropy take place; the power of individual objects is removed and we can begin to see cultural production more in mass (as a whole) and less in parts.