Interviews From Yale Radio / Artists, Curators And More

Meghann Riepenhoff © Geoffrey Berliner Meghann Riepenhoff’s (b. 1979; Atlanta, GA) work has been presented internationally in exhibitions across the globe, including at the Museum of Fine Arts, Boston, MA; High Museum of Art, Atlanta, GA; Crystal Bridges Museum of American Art, Bentonville, AR; Denver Art Museum, CO; C/O Berlin, Germany; Aperture Foundation, New York, NY; and Houston Center for Photography, Houston, TX. Her work is held in permanent collections across the United States, including those of the San Francisco Museum of Modern Art, CA; Harvard Art Museums, Cambridge, MA; Museum of Fine Arts, Houston, TX; and Museum of Contemporary Photography, Chicago, IL, among others. In 2018, the artist was selected as the John Simon Guggenheim Memorial Foundation Fellow. Riepenhoff earned her BFA in Photography from the University of Georgia, Athens, and her MFA from the San Francisco Art Institute. The artist divides her time between Bainbridge Island, WA, and San Francisco, CA. Her book, mentioned in the

Ezra Johnson's work has been included in group shows at the Nerman Museum of Contemporary Art (Kansas City), the Hammer Museum (Los Angeles), the ICA Philadelphia, and the Site Santa Fe Biennial. His work is included in the Rubell Family Collection, Miami, FL; Louis Vuitton Foundation, Paris, France; and The Hammer Museum, Los Angeles, CA. Johnson’s work has been featured in the Los Angeles Times, Miami Rail, ArtNews, Hyperallergic, and the New York Times. His BFA was conferred from the California College of the Arts and Crafts, and he received his MFA from Hunter College. Ezra Johnson, Shot Winner, 2022 oil on linen, 72h x 48w in, 182.88h x 121.92w cm Ezra Johnson,  Sometimes Shaky, 2022 oil on linen, 69h x 49w in, 175.26h x 124.46w cm Ezra Johnson, The Painter, 2022 oil on linen, 80h x 48w in 203.20h x 121.92w cm

Tyler Brandon, Born 1991 in Hollywood, Florida. Lives and works in Brooklyn, New York. In “Fire Paintings”, at Shelter, Brandon simplifies both composition and subject matter, depicting iconography from the natural world. Using primary colors with immediacy, the artist offers a reimagination of the western tradition of landscape painting. Elements of nature become cryptic symbols that return the gaze of the viewer in their frontality. The compositional relationships of these icons suggest they correlate within a larger narrative, functioning together like hieroglyphics. Brandon uses these symbols to depict that which is eternal while at play, like the goddesses and gods of Ancient Greece and Rome. For Brandon, the common denominator throughout this body of work is reduction, removing the excess until he arrives at the emblematic symbol. The artist explores the inclinations of our formative years, before one develops a strong sense of self. These basic elements are what unite us before we take on the weight

Peter Gallo Portrait by Shani Goddard The work of artist Peter Gallo oscillates freely between painting, drawing, collage, and sculpture. Filled with literary, art-­historical, cultural, political, and musical references and detours, Gallo’s works, when installed together, create poetic, albeit labyrinthine, mise-­en-­scènes. The critic James Yood identified in Gallo: "an apparent disdain for materials; an alert scavenger’s attitude toward culture; an eye for the poignant frailties of the vernacular; and an occasionally breathtaking ability to evoke issues of great import. His work is, inevitably, a mixed bag, because he treats the world and his mind as jumbled compendiums, filled with little connections and bursts of revelation that his seemingly slight but actually pointed interventions reveal. It amounts to a kind of grunge arte povera, a witty and instinctive immersion in the stuff of the world that is alternately lax and labored, spottily profound. A partial inventory of Gallo’s materials would include

Fotograf: Elmar Vestner, Berlin Berlin based artist Sabine Hornig is known for her work combining sculpture, photography and installation to produce complex works allowing for new interpretations of conventional histories, memory, perspectives, and the lived environment. Her works explore the tension between surface plane and three-dimensional space, often treating transparent architectural mediums such as glass simultaneously as a surface, subject, and portal. At once rigorously formal and poetic, her works recontextualize familiar places and challenge individual views in the context of societal perspectives. By inverting perspectives and hierarchies, they make visible hidden contexts and communicate the interconnectedness of elements and conditions we usually separate. Her most notable works include La Guardia Vistas, LaGuardia Airport, New York; Shadows, Sydney International Towers, Barangaroo; Double Transparency, Museum Boijmans van Beuningen, Rotterdam; Durchs Fenster, Pinakothek der Moderne, Munich;

Marley Freeman Portrait by Sarah Rice, The New York Times Marley Freeman is a New York-based artist who combines the disciplines of abstract and representational painting. Her unique facture is characterized by the hand-mixed gesso, acrylic, and oils she uses to create meticulous, psychologically-charged color fields. Through this technical process, she studies the ways in which paint “wants to perform.” “Pigments have their own ways of acting,” Freeman says, “and I became obsessed with learning their traits.” Freeman’s distinct vocabulary of forms is made up of brushy strokes, color washes, and shapes that freely transform across the picture plane. The influence of textile design is evident in her close attention to the textural subtleties of her paints, and her reverence for their surface effects—their impressions in the warp and weft of the canvas. Freeman completed her MFA at the Milton Avery Graduate School of Arts at Bard College, New York, and her BFA at the School of the Art Institute of Chicago. Free

Gregor Hildebrandt’s signature media are cassette tape and vinyl, which he collages and assembles into apparently minimalist yet latently romantic paintings, sculptures, and installations. Resting in silence behind the glossy surface of his analog aesthetics, which verges on black and white monochrome, music and cinema haunt his practice. Whether pictorial or sculptural, all of his works contain prerecorded materials, which he references in the titles. These pop-cultural sources, usually a single song, are meant to trigger both collective and personal memories. Like analog storage media, his distinctive rip-off technique is a metaphor for the mnestic process itself: it consists in rubbing magnetic coating against double-sided adhesive tape stuck on canvas to trace intricate and elusive powdery patterns. Further relating to architectural Gesamtkunstwerk, Hildebrandt’s monumental sonic barriers made of stacked, bowl-shaped records and his sensual wall curtains made of unreeled tapes create paths for the visitor

Sam Lipp’s paintings draw from a wide range of found images, committing ready-made pictures and the artist’s own photographs to painstaking recreations using a unique process of additive color applied with steel wool. Encompassing directive street signs, Michael Jackson’s transformed face, sexual domination, and sites of civic ordinance, Lipp’s source material exists at the intersection of the body and power. In Lipp’s additive and highly tangible paint application, pin-sized dots of impasto accumulate to create nuanced hues, establishing concrete analogs to fugitive virtual signs. The resulting works are both highly tactile paintings and direct references to the mechanics of screen culture; at once obfuscated by a dappled fog and rigorously precise. Through these effects, the artist underscores the power of visual culture to govern our lived experience, linking pictures and control. Sam Lipp (b. 1989, London) lives and works in New York. Recent and forthcoming solo exhibitions include Derosia, New York (202

Artist Portrait: “Y, a self portrait”, 2019 4 x 5 x 1” Oil and enamel on panel Alexandra Noel (b. 1989) currently lives and works in Los Angeles. She graduated with a BA in Visual Arts from the University of San Diego in 2011 and a MFA from Art Center College of Design in 2013. Alexandra Noel’s small-scale paintings reveal uncanny assemblages of images. She concentrates on things depicted in a manner somewhere between surreal and familiar: newborns, home objects, and suburbia landscapes. She incorporates these aspects into far-flung imagined landscapes, tragic scenarios, and reinvented cinematic moments. The little panels hint at the size difference between human bodies and electronic devices. She zooms in, crops, stretches, and rescales her little panels as if they were images on screen. The audience is invited to view them from a very intimate perspective. Meanwhile, she emphasizes the tension between being sculptural and illusionistic. As a painter, Noel establishes a linguistic parallel to the dystopic

Joy Episalla repositions the photographic and video/moving image into the territory of sculpture. Since the 1980s, Episalla has exhibited widely in the United States and Europe, including solo exhibitions at Tibor de Nagy, NYC; Participant, Inc., NYC; International Center of Photography, NYC; and Galerie Joseph Tang, Paris. Their work has been featured in exhibitions including Greater New York, MoMA/PS1; Artists Space, NYC; ICA Philadelphia; Centre Pompidou, Paris; and Centrale for Contemporary Art, Belgium. They are the recipient of a 2003 Louis Comfort Tiffany Foundation Award. Episalla is a founding member of the queer art collective fierce pussy. Joy Episalla foldtogram (daylight 2), 2018 gelatin silver object 24 x 20 x 3/4 inches Joy Episalla foldtogram (35' 2.5" x 44, August, iteration 6) 2018-2022 silver gelatin object dimensions variable

Coyle has been working within art for over 20 years, and has been based in London since 2006. A recipient of International Art Market’s Gold List award. ‘Top international contemporary artist of today', ‘Recommended artist to invest in and to be inspired by’, with work acquired by Dame Janet Wolfson de Botton. Coyle’s first education in art in the 1990’s included an introduction to 1st wave New York Pop Art of the 1950’s. Her current figurative work focuses on the use of contemporary fashion magazine imagery and advertisements, to produce painterly images of a Fine Art quality. Combining primary and secondary line work with ideas in abstraction, minimalism and negative space. Her recently completed painting series ’Linda’ and ‘Binary’ deal with embracing and disrupting formal composition. For the first time in 2020 Coyle chose to paint mixed white backgrounds in certain pieces, mixing colours is very important to each piece. This work earned an online review in 2020 from Dab Art Co. in Los Angeles and an i

Portrait by Simon Burstall Dana Sherwood received her BFA from the University of Maine, Farmington. In 2022, Sherwood installed her first solo museum exhibition at Florence Griswold Museum, CT. Sherwood has exhibited in dOCUMENTA 13, Mass MoCA, Storm King Art Center, Nassau County Museum of Art, FluxFactory, Socrates Sculpture Park, Tanya Bonakdar Gallery, and Marianne Boesky Gallery. Sherwood has had solo exhibitions at Denny Dimin Gallery (New York, 2016, 2019), Kepler Art Conseil (Paris, 2017), and Nagel-Draxler Reisbureau Galerie (Cologne, 2015). Her work has been featured or reviewed in publications including The New York Times, Forbes, Hyperallergic, Surface, The Village Voice, Food & Wine, The Huffington Post, Art F City, and the Miami Rail. Sherwood has received several prestigious residencies including Swing Space by LMCC, Pilchuck Glass School, and OMI International Arts Center. Sherwood has further upcoming exhibitions at the Berkshire Botanical Garden and Tanya Bonakdar Gallery. To learn more, h

The various types of images in Aschely Cone’s work are unified insofar as they all share a meditation on the idea of ground—as something that underpins or is beneath something else, something that we notice persisting in the face of, or even because of, change, something as simple as the ground we stand on, or something a bit more intangible like what grounds us metaphorically. Her current project, "The Ground Beneath the Ground", thinks about ground as earth or dirt. In these small panels the image is often situated within a low-relief, sculptural niche on the ground of the support itself. Images of the land are depicted—often images of volcanoes, or images gathered from a long-distance solo hike in Northern New Mexico. Her upcoming work will bring this meditation to the forests of Gabon, Africa. Aschely Vaughan Cone (b. 1985, San Antonio, TX) received an MFA from the LeRoy E. Hoffberger School of Painting at the Maryland Institute College of Art (2016), an MA in Art History from Tulane University (2014) an

David Adamo is an American artist (born 1979, Rochester, New York) who lives and works in Berlin, Germany. Primarily a sculptor, he engages with form and materiality, working with wood, plaster, bronze, and other materials to create installations that are both performative and formal in their arrangement. A process of slow removal is central to Adamo’s sculpture. Objects from everyday life take on new forms, revealed by their remains: the fruit after it has been bitten, the balloon after the air has run out. The same is true of Adamo’s wood works—the eventual forms have emerged through the reduction of material. For his fifth solo exhibition at Peter Freeman, Inc., a single unlaced shoe sits on steps leading nowhere and miniature doors set into the wall create entrances for small spaces in the installation. Adamo has peeled away the layers of 108 canes, chipping away until they are brittle and useless. The repetition of their spindly forms is offset by the pools of shavings the artist has left behind, exposin

Agustina Woodgate (1981, Argentina) practice focuses on the politics of landscapes and infrastructures as a conceptual and public geography. She recombines, activates and repurposes available resources while setting alternative systems in motion. Woodgates' approach is speculative, practical, and site and context-responsive, presenting critical possibilities to concepts on social orders, resource management and information distribution bringing clarity, scale, and accessibility. In 2011 she co-founded radioee.net a nomadic, translingual, online radio station. In 2015 she co-founded TVGOV, a media company providing ecological data visualization. And in 2018 she co-initiated PUB, an experimental publishing platform within Sandberg Instituut, Amsterdam. She is currently a tutor at the Disarming Design Master Program at Sandberg Instituut Amsterdam and is actively teaching workshops in several universities and organizations. Her projects have been commissioned by BIENALSUR 2021, 2019 Whitney Biennial, 4th Ista

Brooklyn-based painter Tim Kent depicts psychotically charged interiors and unsettling dreamlike-vistas. In Kent’s painting, architecture and landscape are fused with gestural brush marks and elements of abstraction, but the picture plane is never flattened. Rather, the viewer is drawn into a deep space enhanced by Kent’s characteristic, symbolic perspectival grid lines. A reference to the Renaissance system used for constructing pictorial space, Kent’s perspectival lines evoke contemporary technological, mechanical and social systems such as electric grids, building elevation lines, internet networks, social networks, the flow of politics and information, and displays of power. The artist’s imagery has evolved over the course of several bodies of work including A World After Its Own Image (2016) Dark Pools and Data Lakes (2018) and Enfilade (2020).  Kent describes his paintings as sometimes “stemming from a reaction to an event or moment from my life or the world, which I then use as the basis for my work.”

Heidi Hahn (b. 1982) was born in Los Angeles, CA and currently lives and works in Brooklyn, NY. Hahn received her M.F.A. from Yale University in 2014, and has been the recipient of several awards, residencies, and fellowships, including the Sharpe-Walentas Studio Program Residency, Jerome Foundation Grant, Skowhegan School of Painting and Sculpture Residency, Madison, ME; and the Fine Arts Work Center Residency, Provincetown, MA, among others. Her work has been collected by the Moderna Museet, Stockholm, Sweden; High Museum of Art, Atlanta, GA; the New Orleans Museum of Art, New Orleans, LA; the Kadist Art Foundation, Paris, France; Saastamoinen Foundation Art Collection, Helsinki, Finland; and New Century Art Foundation, Shanghai, China; in addition to being exhibited in solo and group exhibitions throughout the world including the New Orleans Museum of Art, New Orleans, LA; High Museum of Art, Atlanta, GA; Nerman Museum of Contemporary Art, Kansas City, KS; Anton Kern Gallery, New York, NY; and Premier Reg

Lehmann’s mysterious, frequently nocturnal paintings draw from sources as varied as the Flemish Primitives, aeronautic technical bulletins, how-to photography manuals, Gothic altarpieces, and radiographic simulators. The work explores the continuity of symbolic motifs over the course of centuries, but is united by a persistent concern with the iconography of the unseeable. Prior to completing this body of work, Lehmann co-curated, with Ann Temkin, “Ileana Sonnabend: Ambassador for the New,” at the Museum of Modern Art in New York; coauthored the anthology Artists Who Make Books (Phaidon/PPP Editions); and wrote “Color Goes Electric,” a widely read history of standard test images and the digitization of color, for Triple Canopy. A former editor at Cabinet and a contributor to Artforum, Lehmann received a BA from Harvard College in Visual and Environmental Studies (1998–2003).

ToddGray portrait, img © Brian Guido Todd Gray (b. 1954, Los Angeles, CA) works in photography, performance, and sculpture. Gray’s most recent photo works are comprised of photographs gathered from his own archive and recontextualized via their juxtaposition with one another and the use of antique frames as a structuring device. Gray's work is represented in numerous museum collections including the Getty Museum, Los Angeles, CA, the Whitney Museum of American Art, New York, NY; Los Angeles County Museum of Art, Los Angeles, CA; National Gallery of Canada, Ottawa, Canada; The Studio Museum in Harlem, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Minneapolis Museum of Art, Minneapolis, MN; and Santa Barbara Museum of Art, Santa Barbara, CA, among others. He was the recipient of the Rome Prize by the American Academy in Rome in 2022,  John Simon Guggenheim Fellowship in 2018 and a Rockefeller Foundation Grant in 2016, among others. Todd Gray, the hidden order of the whole (venus), 2021, Four a

William Wegman in his studio William Wegman was born in Holyoke, Massachusetts, in 1943 and received a BFA from the Massachusetts College of Art, Boston and an MFA from the University of Illinois, Urbana-Champaign. His work has been exhibited extensively in both the United States and abroad, including solo exhibitions at the Walker Art Center, Minneapolis (1982); San Francisco Museum of Modern Art (1988); Whitney Museum of American Art (1992); Museum of Fine Arts, Boston (2001); and The Art Gallery of Ontario, Toronto (2002). The retrospective “William Wegman: Funney/Strange” was held at the Brooklyn Museum, and traveled to the Smithsonian American Art Museum, Washington, D.C.; the Norton Museum of Art, Palm Beach; the Addison Gallery of American Art, Andover; and Wexner Center for the Arts, Columbus (2006-07). Since his first exhibition at Sperone Westwater in 1990, Wegman has exhibited regularly at the gallery (1992, 2003, 2006, 2012, 2016, 2017 and 2022).  The book William Wegman: Writing by Artist was edi