Visual Arts Faculty

RaMell Ross

RaMell Ross headshot

Photo courtesy RaMell Ross

About

RaMell Ross is a visual artist, filmmaker, writer and liberated documentarian. His work has appeared in institutions including Hammer Museum, Los Angeles, CA; Institute of Contemporary Arts, London; Birmingham Museum of Art, Museum of Modern Art, New York City, NY; National Gallery of Art, Washington, D.C., Ogden Museum of Southern Art, New Orleans, LA; and Walker Art Center, Minneapolis, MN. He has been awarded an Aaron Siskind Foundation Individual Photographer’s Fellowship and was a 2020 USA Artist Fellow. His feature experimental documentary, Hale County This Morning, This Evening, won a Special Jury Award for Creative Vision at the 2018 Sundance Film Festival and 2020 Peabody Award. It was nominated for an Oscar at the 91st Academy Awards and an Emmy for Exceptional Merit in Documentary Film. RaMell holds degrees in Sociology and English from Georgetown University and is an associate professor of art in Brown University’s Visual Art Department. His work is in various public and private collections.

Recently, images from South County, Alabama (a Hale County), were featured in an International Center for Photography exhibition "But Still it Turns," curated by Paul Graham, in consideration of a post documentary discourse. The image, Caspera, 2019, was included in Valerie Cassel Oliver's landmark exhibition at the Virginia Museum of Fine Art, "The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse." Ross' solo exhibition of new work spanning sculpture and performance and photography — "Spell, Time, Practice, American, Body" — opens at the Ogden Museum of Southern Art in New Orleans on October 23, 2021.

NEWS + LINKS

25 New Faces of Independent Film” | Filmmaker Magazine, 2015

The Experimental High Notes of Hale County This Morning, This Evening” | The New Yorker, September 19, 2018

New Voices in Southern Photography and Where to See Them This Fall” | TIME Magazine, October 5, 2018

Photographing Life as It’s Seen, Not Staged” | The New York Times, February 5, 2021