Amy Rose Khoshbin

This Installation in Project for Empty Space’s last show in the Gateway Center location was in response to PES and many other local businesses being pushed out because of a corporate buyout and skyrocketing rents. Synergy Corporate Headquarters focuses on the cyclical fallacy of ideologies that subsume personal humanity in the service of capitalist gain.

2019. Tailored business suits, my father Djam Khoshbin’s suit, football padding, headless White male mannequin. 30 W x 6 H x 20 D inches

2019, repurposed executive desk, wood, stain. 62 W, 30 H, 34 D inches

First Dollar, Last Meal. McDonald’s bag from my father Djam Khoshbin’s last meal + Lithophane print of him holding the first dollar he earned in the United States.

2019. 3D printed Resin, PLA, Plexiglas.
In Manager / Team, the systematized isolation found in the modern-day corporate work environment is represented through 3D printed dioramas of Djam Khoshbin’s office where the artist embodies all the characters. These pieces are inspired by Egyptian Middle Kingdom (2030- 1650 BCE) wooden models depicting hierarchal labor and commerce systems. The walls in Modern Work Dioramas are adorned with corporate motivational posters that feature unique idioms by the artists father.

Collaboration with Keary Rosen, Joseph Labib, and Form Design Lab Rutgers

2019. 10 Collages on Presidential Documents (framed). 11 x 14 inches each

Not Just Words is a series of ten collages that were created in response to the 2018 Muslim travel ban. These pieces pull from Khoshbin’s family history and are inspired by her father’s immigration from Tehran, Iran to the United States.

2019. Digital photographs. 18” x 24” (framed) (each) Special thanks to Amira Wedeman

2019. Collage on arches paper. 52 x 22 inches

2019. Risograph print of Persepolis map w/my father’s underlined text from the book Passages. Mounted on my father’s notepad paper. 11 x 11 inches (framed).

(In collaboration with Norma Khoshbin), 2019. Djam Khoshbin’s handkerchiefs, embroidery thread. 78 x 68 inches.

Hand-sewn by the artist’s mother, Love you billions is an homage to love and death. This shroud is both a nod to the Muslim and Baha’i funerary traditions of wrapping the body before burial, and the tradition of lovers exchanging handkerchiefs with notes embroidered onto them. The phrases sewn onto this shroud are phrases of love and compassion frequently uttered by the artist’s father.