Hannah Maier-Katkin
Hannah Maier-Katkin is an alumna of the Whitney ISP and a writer in Oakland, CA.
Stephen Kaltenbach: The Beginning and the End
By Hannah Maier-KatkinThis exhibition is not quite a retrospective, as Kaltenbach’s career has not quite taken a conventional path. Rather, as the show’s name insists, Lewallen and Mann have selected works from the beginning of Kaltenbach’s career and from its alleged end—a nod perhaps to the conclusion, with this exhibition, of the artist’s self-imposed exile from the art world at large.
Richard Mosse: Ultra
By Hannah Maier-KatkinRichard Mosse has recently garnered a sort of perverse accolade from a hyper-capitalist art market that values speculative worth over subversive potential. The Kilkenny-born photographer set an auction record earlier this year for the sale of a single print by an artist under the age of 45.
Léonie Guyer and Rebeca Bollinger: Threshold
By Hannah Maier-KatkinThis latest, and last, exhibition at Interface Gallery arrives as we feel ourselves on a precipice: we risk encountering what lies beyond the unraveling of our social fabric. A threshold signals a material change or activation, abandoning what is left behind to confront, embrace, and to become something new.
Terry Fox: Resonance
By Hannah Maier-KatkinResonance as it is known to the public —although affectionately the series has been termed “The Terry Fox Extravaganza” by its co-curators Dena Beard, director of The Lab art space in the Mission neighborhood of San Francisco, and Constance Lewallen of the Berkeley Art Museum and Pacific Film Archive (BAMPFA)—is a multi-venue celebration of the late, Seattle-born, Europhilic Fox's work and contributions to the Bay Area as a member of the first generation of conceptual artists in the late 1960s and 1970s.
