Interior designer Senalee Kapelevich specializes in crafting personalized, aesthetically pleasing, and highly functional custom interiors, characterized by a warm and mid-century modern style. In this living room,  the elegant  and modern interiors allow our thoughtfully chosen artworks to shine.

Jenny Holzer is renowned for her exploration of language in the public sphere. Her work delves into both personal and collective experiences of power and violence, to illuminate social and political injustices. In Page 99, Holzer transformed the FISA Application (The Foreign Intelligence Surveillance Act) into a large-scale panel, with solid bars and rectangles redacting sensitive information across the text, marking reference to Russian Suprematist compositions and Medieval illuminated manuscripts.

Senalee Kapelevich’s minimal terrace design complements the visible nature encompassing the top floor of the home. 

Genevieve Gaignard’s work delves into the intricate intersections of race, femininity, and class. Vogue #5 comes from her editorial series “Cult” for Vogue Italia’s September 2019 edition. In this series, Gaignard uses her flair for costumes and composition to create images beyond fashion photography as pairs of a designer handbag with a sliced watermelon. The meaning behind her work for Vogue has not been diluted as it challenges people’s biases surrounding race and identity.

Sheila Hicks is renowned for her innovative and experimental weavings, sculptural textile art with voluminous form and vibrant color. During her undergraduate studies at Yale, Hicks was introduced to pre-Hispanic Andean weaving under the mentorship of Josef and Anni Albers, whose fascination with distinct colors and geometrics significantly influenced her work. After traveling to explore artisanal fabrics in Colombia, Chile, Peru, and Bolivia, Hicks draws inspiration from the patterning methods employed by Peruvian artists centuries ago, incorporating and expanding upon these techniques in her own work.

Erin Shirreff’s interest in the photographic representation of large-scale abstract sculpture is reflected in her A.P. series (2012–14). These photographs conjoin two half-images of miniature sculptures Shirreff crafted to echo the visual vocabulary of artists such as Alexander Calder, Anthony Caro, and Tony Smith. The prints are folded at the seam of two images, suggesting a double-page spread of a book.

Challenge Accepted by Genevieve Gaignard delves into personal histories, popular culture, and racial dynamics. Inspired by her real-life experiences in her LA neighborhood and playing up her half-white identity, Gaignard aims to affirm Black livelihood and provoke reflection on the harsh realities of the outside world.

Best known for her enigmatic sculptures and installations that explore concepts of space, time, science, and philosophy, Berlin-based Alicja Kwade creates immersive experiences that actively encourage viewers to question their perception of reality. Rain (15 minutes/30 cm) (2019) is part of a larger mixed media work, in which a series of white boards is showered with clock hands and single millimeters cut from a folding ruler in varying volumes. The middle board, with the densest concentration of both elements, represents a storm at its most powerful, and the interference of the two systems: time and distance, clock hands and millimeters. Both the cut ruler and clock hands are visually reminiscent of raindrops, simultaneously restricting and expanding their symbolic power.

Path to Lights is part of Sheila Hicks’ Down Side Up series, featuring large panels wrapped in strands of linen and acrylic yarns created over two years in her Paris studio. Hicks continues employing intensely saturated color and the raw materials of textiles in her work that are rigorously constructed by wrapping, pilling, and weaving her materials.

Tracey Emin is a multimedia artist known for her association with the YBA (Young British Artists) group in the 90s, which abolished the traditional separation between art techniques and focused on conceptual art. Her neon texts are “written” in Emin’s handwriting, and sometimes even feature crossed-out lines thus conjuring a similar sense of hurriedness and uncertainty. These blunt confessions read like diary entries, but because most of the neon installations are one-liners, they often lack the personal details that give specificity. Instead, through the ubiquity of their content, they seem to reach for universality and relatability.

American artist Davina Semo is renowned for her sculptures that embrace industrial construction materials like glass, concrete, and chain. Here Semo combines mirrored acrylic embedded with constellations of small sealed bearings, resulting in a slightly distorted reflection due to the panel’s surface inconsistencies, creating a queasy, fun-house atmosphere. It aims to reflect the present-day urban environment with all its awkward disjunction and waste.

Martine Gutierrez’s Neo-Indeo, from her Indigenous Woman magazine, presents a self-portrait that challenges conventional notions of beauty. Styled to look like a fashion editorial, Gutierrez disrupts Eurocentric standards by featuring a trans woman in a cultural space traditionally occupied by cis white women dressed in traditional Mayan attire. Through the glossy magazine format, Gutierrez confronts deeply ingrained biases, such as sexism, racism, and transphobia, exposing their presence within our culture.

Lorna Simpson’s photographic collages utilize Jet and Ebony magazines and out of print textbooks as sources for her artwork, which document African American perspectives and experiences. The collages reveal fragmented narratives and groupings that reflect our relationship with universal forces and the passage of time. Simpson uses dramatic cropping, distortions of scale, and aerial viewpoints to create unconventional settings for the human figures, exemplifying the surreal world conjured in her practice.

This sculpture is part of Kelly Akashi’s Formations series, which explores the inherited impact of her Japanese family’s imprisonment in an American concentration camp during World War II. Here Akashi incorporates Poston stone, cast lead crystal and her Grandmother’s heirloom ring sourced from the site of the prison camp in western Arizona, infusing the artwork with a rich sense of time, memory, and ancestral lineage.

Kara Walker is best known for her panoramic friezes of cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery. This piece is from Walker’s Bureau of Refugees series, focusing on the horrors faced by former slaves after the 1863 Emancipation Proclamation and the 1866-1877 Congressional Reconstruction program.

Koak creates emotionally charged portraits, often of female figures, imbuing her subjects with a sense of agency and inner life to challenge patriarchal views. In Self-Portrait w/ Flowers, Koak touches on themes of stress and fragility. The image presents a distressed figure with wide eyes, peering intensely from behind a web of cracks crisscrossing a vase filled with deconstructed flowers. The vase, as does the transparent figure within it, seems on the verge of bursting.

Unlike her earlier paintings which were representations of numerical data, Hayal Pozanti’s new body of work is a meditation on words and language abstraction, described by the artist as “visual poetry” . Her creative process starts with collecting words and phrases from online sources and her own poetry. She then picks a word from this set to meditate on and translates it into paint by intuitively composing new shapes. 

Altar is a collaborative sculpture created by Claire Tabouret and her husband Nathan Thelen. It pays homage to the celebrated artist and occultist Pamela Colman Smith (1878-1951) , recognized for her illustrations in the famous Rider-Waite Tarot deck. Tabouret skillfully translates Smith’s watercolor self portraits into stained glass panels, while Thelen frames them in a hand-carved mahogany sconce. Within the sculpture, Tabouret’s delicate face emerges, softly illuminated by a small votive candle.

Phyllida Barlow is known for vivid installations constructed from inexpensive, everyday materials like fabric, plywood, cardboard, and cement. Her invented forms are created through layered processes of accumulation, removal, and juxtaposition—gestures that Barlow describes as “more functional than artistic.” This work on paper is a study for the immersive painted sculptures she unveiled at the 2017 Venice Biennale’s U.K. pavilion and her solo exhibition at the Sprengel Museum in Hanover.