Amelia Saul

Amelia Saul is an artist who lives in New York.

September 2025ArtSeen

Nina Yankowitz: In the Out/Out the In

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One question kept surfacing: where is the art itself in relation to her objects? In the work of Nina Yankowitz, this varies hugely.

Nina Yankowitz, Cantilevered Painting X Marks the Spot, 1997. Acrylic and cotton on wood, 51 ⅜ × 25 ⅝ × 20 inches. Courtesy Eric Firestone Gallery and Museum of Fine Arts, St. Petersburg.

September 2025ArtSeen

Nina Katchadourian: Origin Stories

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Nina Katchadourian’s Origin Stories threads through Seattle’s National Nordic Museum with five projects that explore family and memory, play and reenactment. If you’re a good museum visitor and do things in order (which is an extended joke and conflict in much of Katchadourian’s work), you first visit her 2021 epic To Feel Something That Was Not of Our World—epic on many levels. To enter it, you jump into the deep end of a deep blue and dense installation, as well as scan a QR code linking you to over two hours of audio that form the backbone of the project (well worth every second). 

Installation view: Nina Katchadourian: Origin Stories, National Nordic Museum, Seattle, 2025. Courtesy the National Nordic Museum. Photo: Jim Bennett / Photo Bakery.

June 2024ArtSeen

Joana Choumali: I am not lost, just wandering

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In her show I am not lost, just wandering at Sperone Westwater, Joana Choumali deepens her meditative practice of embroidering on photographs taken on her early morning walks through Abidjan, Cote d’Ivoire. Her compositions are set by her snapshots onto which the artist sews, so while being quilt-like, the pieces retain a lens perspective.
Joana Choumali, THE RAIN IS GONE, 2024. Mixed media, embroidery, paint, manual collage, sheer fabric, and digital photograph printed on canvas. Triptych; 56 5/8 x 38 1/2 inches. Courtesy the artist and Sperone Westwater.

June 2024ArtSeen

Hank Willis Thomas: LOVERULES

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In Hank Willis Thomas’s LOVERULES—From the Collections of Jordan D. Schnitzer and His Family Foundation, at the Henry Art Gallery in Seattle, the material is the spectacle of American media itself, and the most commercial parts of it: advertisements, sports, logos, slogans—in this place, the United States, at this time—now, or what passes for now, which in Thomas’s hands includes the last four hundred years.
Hank Willis Thomas, All Lies Matter, edition 201/400, 2019. Screenprint. Collection of the Jordan Schnitzer Family Foundation. Courtesy Jordan Schnitzer Family Foundation and Henry Art Museum. Photo: Aaron Wessling Photography.

July/August 2023Art

Sung Tieu with Amelia Saul

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In 2023, Berlin-based artist Sung Tieu opened two shows along the Eastern Seaboard. Infra-Specter, currently on view at the Amant, Brooklyn, and Civic Floor, at the MIT List Center. Deftly interweaving sculpture, installation, sound, and video, Tieu’s work exists equally in the interpretation of facts, testing of realities, discovery of obfuscations, and awareness of social control.
Portrait of Sung Tieu. Pencil on paper by Phong H. Bui.

February 2023ArtSeen

Shirin Neshat: The Fury

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Shirin Neshat’s impassioned and lyrical show The Fury at Gladstone Gallery is in black and white and rainbows of gray. Warm gray in the photographs that hang, halo-lit, in the first room; icier gray in the dual-channel video The Fury (2022) which, despairingly facing itself on two walls, is installed in the back room.
Shirin Neshat, The Fury, 2022. Two-channel video installation HD video monochrome, duration: 16 minutes and 15 seconds. © Shirin Neshat. Courtesy the artist and Gladstone Gallery.

November 2022ArtSeen

IN A DREAM YOU SAW A WAY TO SURVIVE AND YOU WERE FULL OF JOY

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The artists in this show tend towards identities that spill over and beyond traditional boundaries; the humor, sadness, dissolution, joy, plasticity, the lost and found of this more liquid existence is all in evidence. If one were to write, in contrast, ‘in a dream you saw a way to survive and were full of joy…’ you’d get the feeling.
Danielle Mckinney, Dreamer, 2021. Acrylic on canvas, 20 x 16 inches. Collection of Sarah Hendler and Vinny Dotolo. Artwork © Danielle Mckinney. Courtesy the artist, Marianne Boesky Gallery, New York, and Night Gallery, Los Angeles. Photo: Pierre Le Hors.

July/August 2022ArtSeen

Ellie Ga: Quarries

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The world of Ellie Ga’s Quarries is almost entirely after the fact, in a time when current events have hardened into history or dissolved into personal memory.
Ellie Ga, Quarries, 2022. HD video, sound, 40:23. Courtesy the artist and Bureau, New York.

June 2022ArtSeen

Bang Geul Han: If You Grind The Threshold of Three Other Houses

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To Han, the funny-not-funny is a vacuum, a vertiginous and politically demagnetized area between two people who experience the same phenomena in radically different ways. You think Han’s Texas Chainsaw Massacre (2022) is funny, your girlfriend does not.
Installation view: ​​한방글 Bang Geul Han: If You Grind The Threshold of Three Other Houses, the Bronx Museum of the Arts, New York, 2022. Courtesy the Bronx Museum of the Arts. Photo: Argenis Apolinario.

September 2015Critics Page

Amelia Saul and St. John the Evangelist (ca. 1410)

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Donatello’s extraordinary St. John the Evangelist, the center-point of the Museum Of Biblical Art’s Sculpture in the Age of Donatello this last spring, is a Trojan Horse. Donatello works his way deeper into thought for days; he troubles.
Donatello, St. John the Evangelist, 1410 ââ?¬â?? 11. Marble. 6.83 ft. Photo: Richard Heidler (CC BY-SA 3.0) / Desaturated from the original.

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