press coverage

Ravelin interviews Amy Stephens about Land | Reland, an exhibition on two continents

Read Alec Coiro’s interview with Amy Stephens about her cross-continental exhibitions, currently on view at William Benington Gallery in London and here at Upfor, via Ravelin Magazine.

Amy Stephens’s work brings our attention to the land. Central to this focus is the way she allows her material to speak, and the way she uses the gallery space as means of amplifying that voice. While it’s important to learn the background behind the materials and objects she employs, it is equally true that the work is impressive on its own in a way that is very much in line with the fascination with the sublime throughout the history of art.

– Alec Coiro for Ravelin

Morehshin Allahyari featured by National Geographic's Genius

Morehsin Allahyari discusses two major projects for National Geographic's Genius, Material Speculation: ISIS and She Who Sees the Unknown. Material Speculation works have exhibited internationally at institutions such as the Centre Pompidou, France; Hartware MedienKunstVerein, Germany and Museum of Applied Arts and Sciences, Australia. Upfor recently presented the first three from a planned series of twelve She Who Sees figures at the Armory Show in New York.

Join us this evening during First Thursday for The Feeling Good Handbook

Join us this evening during First Thursday for The Feeling Good Handbook

BOMB's latest issue includes a conversation between The Feeling Good Handbook artists Heidi Hahn and Shana Moulton, introduced by exhibition curator Jordana Zeldin: ‘Human experience remains messy and ambivalent; I feel a kind of reassuring generosity in their exploration of those more difficult aspects, as if through their work they’re saying to all of us: “You’re not alone!” ‘

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Alix Pearlstein's Harem ROOM-1 and Two Women reviewed by Artforum

Alix Pearlstein's recent exhibition at Upfor, Harem ROOM-1 and Two Women, was reviewed by Jon Raymond in the recently released May issue of Artforum, available now to subscribers online. If you would like to read the review in PDF form, please email us at

In these exceedingly vulgar times, feminists have been forced to develop an array of responses to daily onslaughts of abuse, some blunt, some subtle. Alix Pearlstein’s recent show at Upfor offered a particularly sophisticated take on contemporary power dynamics, in the form of an installation ringing with implacable ontological implications about gender and society that will, sadly, probably still be relevant a hundred years from now.
— Jon Raymond for Artforum
  Alix Pearlstein,  Harem ROOM–1  (detail), 2016 . Installation view. Photo: Mario Gallucci.

Alix Pearlstein, Harem ROOM–1 (detail), 2016. Installation view. Photo: Mario Gallucci.