Juliana Halpert

  • Lauren Satlowski, Strings and Horns, 2020, oil on linen, 40 × 26".

    Lauren Satlowski

    In her solo exhibition at Bel Ami, “Watch the Bouncing Ball,” which spanned the holidays and stretched into the new year, Lauren Satlowski turned a studied eye onto the trinkets and textures of our time, rendering glossy surfaces and glowing gradients with scrupulous, sumptuous glee. The ten oil paintings featured still-life arrangements of dolls, decals, and other bric-a-brac that hover atop creamy, incandescent grounds. Like the Photorealists before her—who took pleasure in replicating, for instance, a Chrysler Sebring’s scintillating silver paint or a chrome napkin dispenser’s glint—Satlowski

  • Jennifer Packer, Untitled, 2016, oil on canvas, 24 x 24".
    interviews December 08, 2020

    Jennifer Packer

    Jennifer Packer has most often painted the people who surround her, rendering the figures of close friends and classmates from observation as they kick back into couches and armchairs, nestled inside New York apartments and grad-school studios. Transmuted by textured washes and brilliant hues, their bodies and clothing blend into their plush environs, becoming one with the scene and most truly at home. The New York–based artist also applies a soft touch to her recent paintings of flower bouquets, each a sprightly study of color and form that serves as a requiem to the fleeting and fragile beauty

  • Sophia Al-Maria, Beast Type Song, 2019, HD video, color, sound, 38 minutes 3 seconds. Installation view, Tate Britain, London.
    interviews December 10, 2019

    Sophia Al-Maria

    For the Tate’s exhibition series “Art Now,” London-based artist Sophia Al-Maria has mounted “Beast Type Song,” an installation that foregrounds her new eponymous video. Inside its thirty-eight minutes, Al-Maria braids a narrative from strands of stories and texts, scripts and speech, post-apocalyptic science fiction and apocalyptic reality. Through footage that flips between a film and its own making, the artist lets us watch her assemble a world out of words, built from the rubble of colonial history and the brutality of its tongue. “Beast Type Song” is on view at Tate Britain in London until

  • Kameelah Janan Rasheed, Scoring the Stacks, 2019. Installation view, Brooklyn Public Library. Photo: Gregg Richards.
    interviews April 01, 2019

    Kameelah Janan Rasheed

    As the 2019 Katowitz Radin artist-in-residence at the Brooklyn Public Library, Kameelah Janan Rasheed has orchestrated Scoring the Stacks, a four-month-long project that fosters new dynamics between the library’s visitors and its books, between the roles of teacher and student, and between our notions of artist and artwork. Six accompanying public events invited participants to explore different ways to create, collaborate, and learn. Scoring the Stacks is on view at the library’s central location until April 7, 2019; Rasheed’s final event, This is Not an Artist Talk, will be held on April 4,

  • Maia Cruz Palileo, All The While I Thought You Had Received This, 2018, oil on canvas over panel, 33 x 48".
    interviews February 14, 2019

    Maia Cruz Palileo

    The fourteen paintings and drawings that comprise Maia Cruz Palileo’s debut solo exhibition in her native Chicago are, in essence, portraits of the Philippines, imagined as her family had once known it. But Palileo’s lurid, tropical scenes are equally somewhere and nowhere, bridging the continents of a real place and its memory, its histories and its myths, its hard facts and its folklore. “All The While I Thought You Had Received This” will be on view at Monique Meloche Gallery until March 30, 2019.

    THIS SHOW’S TITLE comes from a letter that my grandmother wrote to me around ten years ago. I

  • Andrea Büttner, Shepherds and Kings (detail), 2017, 35-mm slide show.
    interviews October 23, 2018

    Andrea Büttner

    German artist Andrea Büttner has a long-standing practice of using appropriated imagery as a historical and philosophical tool. For the first time, three of Büttner’s slide projections are being shown together as large-scale, standalone installations. “Shepherds and Kings,” a solo exhibition of Büttner’s work, is on view at Bergen Kunsthall in Norway until October 28, 2018. She is also participating in the São Paulo Bienal, on view through December 9, 2018.

    I’VE LONG BEEN INTERESTED IN depictions of poverty. Considering how much we know about representations of wealth and power across centuries,

  • Heba Y. Amin, The Master’s Tools I, 2018, black-and-white photograph, 34 x 43".
    interviews June 05, 2018

    Heba Y. Amin

    The Egyptian artist Heba Y. Amin’s latest project, Operation Sunken Sea, 2018, is well suited for “We don’t need another hero,” the next iteration of the Berlin Biennale, which opens June 9, 2018. With a room-wide installation, Amin imagines herself as the mastermind of a bureaucratic plan to drain the Mediterranean Sea—a singular solution to the crises of terrorism and immigration in the Middle East and Africa. With an air of autocracy, her project exposes long-standing colonial convictions, as well as the inherent bias and violence of power.

    OPERATION SUNKEN SEA is an attempt to flip a historical

  • Farah Al Qasimi, Falcon Hospital 2 (Blue Glove), 2016, ink-jet print, 27 x 20”.
    interviews December 12, 2017

    Farah Al Qasimi

    Among the thirteen photographs mounted in “More Good News,” the Emirati artist Farah Al Qasimi’s first solo exhibition in New York, are several portraits of men in their homes, reclining on ornately patterned couches or sitting on a bed. Other pictures look inside a falcon hospital in Abu Dhabi, and one captures a dog cowering next to a table littered with guns in Texas. Throughout, the images reveal Al Qasimi’s fascination with the privileges of privacy and what it might mean to see or be seen. The show is on view at Helena Anrather until December 22, 2017. 

    “MORE GOOD NEWS” comes out of my

  • Jérôme Havre, Cauleen Smith, and Camille Turner, Triangle Trade, 2017, HD video, color, sound, 14 minutes 31 seconds.
    interviews October 10, 2017

    Cauleen Smith

    The artist and filmmaker Cauleen Smith, who recently relocated from Chicago to Los Angeles, rarely tethers her work to bare reality. Her latest film, Triangle Trade, 2017—made in collaboration with Canadian artists Jérôme Havre and Camille Turner—renders three new, fantastical realms, inhabited only by the puppet likenesses of the work’s three creators. Triangle Trade is on view at Gallery TPW in Toronto until November 11, 2017.

    TWO YEARS AGO, I visited Toronto to do a site visit at Gallery TPW, where I had been slated to have a solo exhibition. I wanted to make a film in the city for that show,

  • Tiona Nekkia McClodden, The Brad Johnson Tape, X - On Subjugation, 2017, video, black-and-white, sound, 2 minutes 24 seconds.
    interviews September 19, 2017

    Tiona Nekkia McClodden

    Based in Philadelphia, the artist and filmmaker Tiona Nekkia McClodden often formulates her work in response to lesser-known creative predecessors, pulling up the deeper roots of black American art, literature, and identity. The ten-part VHS video The Brad Johnson Tape, 2017, is her latest project and pays homage to the poems, essays, and correspondence of the late writer, who died of AIDS-related complications in 2011. One segment of the work, On Subjugation, and another recent video, Essex + Audre, 2015, are on view in the group exhibition “Speech/Acts” at the Institute of Contemporary Art in

  • Mike Mandel and Larry Sultan, Untitled, Evidence (detail), 1977, silver print, 10 x 8".
    picks June 02, 2017

    Mike Mandel

    The shared blunders of Richard Nixon and our current leader are obvious, but there’s one stark difference between the two presidents: Nixon, who loved classical music and reportedly wanted to throw liberals a bone during the Vietnam War, demonstrated strong support for the National Endowment for the Arts. In 1971, its budget was doubled. By the end of the decade, the number of working artists in the country had increased by 81 percent.

    “Good ’70s” is a fitting name, then, for this exhibition of Mike Mandel’s work, all from projects made over the course of that decade. It was a productive period

  • Eva O’Leary, Hannah, 2017, archival pigment print, 21 1/2 x 27".
    picks April 21, 2017

    Eva O’Leary

    It’s getting old—young women and girls being appointed our go-to champions of bravery, pluck, solidarity, or whatever. If only all of us could be as unafraid as Fearless Girl, or as incomparable as Kendall Jenner in her desire to quench a cop’s thirst—would we then overcome? Put a smile on, these corporate mockups of girlhood seem to say. There’s nothing to be afraid of.

    Thankfully, Eva O’Leary’s portraits of adolescent girls, currently on view in the artist’s first solo show in New York, honor a more complex reality. Framed at close range and mostly shot through a two-way mirror against a glowing,