Amy Yao is a musician, curator, and contemporary visual artist making work in many different mediums informed by ideas of waste, consumption, and identity. Amy Yao is also a lecturer in visual arts at Princeton University in New Jersey.4
Amy Yao was born in June 18th, 1977 in Los Angeles, California. Amy Yao is currently based in New York City, New York and Phoenix, Arizona.
Ever since Amy Yao was young, she had an artsy side. When asked about her interest in art in an interview by Lvl3official.com (Linked below) she said “I’ve always been interested in art amongst other things such as activism from a very young age. But I became aware of what was going on with contemporary art when I was 15 and going to punk shows at Jabberjaw — my friend who was older than me and in undergrad at UCLA, Gabie Strong, suggested I read Art Forum.”
In 1993, Amy Yao and her sister Wendy were founding members of Emily’s Sassy Lime, an all-Asian American teenage riot grrrl trio from Southern California. The band dissolved in 1997. They all played multiple instruments and switched instruments during performances. Amy Yao has been involved over the years with several different bands, frequently collaborating with Tobi Vail.
Amy Yao received a Bachelor of Fine Arts from Art Centre College of Design in California in 1999 and a Master of Fine Arts from Yale University in Connecticut in 2007. Due to her love of art and everything beautiful, Yao co-founded contemporary art gallery China Art Objects Galleries in 1999 with other graduates of Art Centre.
Amy Yao has exhibited at the Whitney Museum of American Art in the Eckhaus Latta: Possessed exhibit, MoMA PS1, 47 Canal with the exhibit Weeds of Indifference, and Various Small Fires with the exhibition Bay of Smokes. Yao did a TRADES artist residency in Hawaii in 2017, and she was included in the 2019 Honolulu Biennial.
Chloe Wyma , the associate editor in Artforum, Wrote about Weeds of Indifference (One of Amy Yao’s exhibits) in Artforum, “Refusing the ready-made’s historical and contemporary postures—the cynical/ironic critique of the commodity form, the mystification of materials—Yao’s gnomic, desublimated sculptures are sometimes puzzling and not always easy to love. Nonetheless, their difficulties reflect honest questions: ‘What is even real?’ she asks, speaking of when ‘the new authentic is used to eradicate what came before.'”