56 south, TN, 2011. Oil on panel, 24 x 26 in.
Karla Wozniak, Yale MFA in Painting and Printmaking 2005
“As far as sensory overload is concerned I have always been a maximalist. I throw the kitchen sink into my work and flounder around till the pieces achieve some sort of coherent organization and voice. My paintings go from being just crazy to an orchestrated blast of information that is overwhelming but ultimately synthesizes into a precarious whole. I think that’s how we have to deal with our world these days. Images overwhelm us on the road or on the computer, so much so that we tune much of it out. I feel like these paintings are about me both acknowledging and taming the overwhelming stimuli I experience daily.” (Modern Ink Mag Interview, 2012)
Hanneline Røgeberg, Yale MFA in Painting and Printmaking 1990; lecturer in Painting, Yale School of Art, 1991-1993; visiting artist at Yale, 1997
Portrait Sheikh II, 2009. Oil on canvas, 12 x 10 in.
“The published image of Khalid Sheikh Mohammed upon his capture in 2003 went viral as visual shorthand for the enemy as all that was abject, hairy and debased. In the rhetoric of the War on Terror, the image was universal. I congratulated myself on being fluent in it, and had a conflicting animal urge at the same time- somebody ought to lick his fur down. The brush is a tongue.
In these paintings I accept the inadequacy of any system of representation to presume truth, and dig for below-human-register frequencies and overlaps in the unequal but complementary rhetoric of the two portraits of Khalid Sheikh Mohammed.” (Artist’s Statement)
Mike Cloud, MFA in Painting and Printmaking 2003
Rainbow Rabbit Quilt, 2008, Oil on clothing with stretcher bars, 70 x 56 inches
“The unconscious part of me, or the childish part of me has things it wants to do—I’ve always wanted to make a painting about fractals, or I wanted to make a painting about Georgia O’Keeffe, or I wanted to make a painting about holidays—my heart wants those things. The part of me that is a professional artist tells that other part of me if the idea will work in a particular painting. When I find the painting that’s the right shape, or I find some color relationship that will facilitate a Halloween painting, I’ll make it…” (“Dying Merging Multitasking: An Interview with Mike Cloud by Karla Wozniak,” Temporary Art Review, 2013)
"I’m an absolute, belligerent lover of painting, but I’m equally influenced by the Pictures Generation. I grew up looking at Richard Prince just as much as I was looking at Caravaggio at the same time, so there’s no way that can’t be an active part of my work. I’m not really the type of person to crawl into a cave and paint still life…it’s just not my way. That’s something that…I think that’s where I struggle and I succeed with the cinema reference, and reference in general, because I use it a lot." (New American Painting Interview, 2012)
Mark Tobey, “White Night” (1942), tempera on paperboard mounted on composition board, 22 ¼ x 14 in., Seattle Art Museum, Gift of Mrs. Berthe Poncy Jacobson, 32.78. (© Seattle Art Museum, Photo: Paul Macapia.) (via Northwest Passages: Into the Modernist Mystic)
Mark Tobey, visiting critic in Painting at Yale in 1951 (invited by Josef Albers)
“Tobey’s distinctive approach to painting came to be called ‘white writing’—an obsessive, dense, calligraphic style that seems akin to ancient symbolic expression, like characters scratched into the surfaces of black obsidian or clay tablets. Tobey’s white lines on dark surfaces perfectly convey forces that are familiar to us all—like meteor showers in the night sky, for example—and that we appreciate as some of the most ravishing and mysterious occurrences in nature.” (Seattle Art Museum)
Josephine Meckseper, at #MoMA
Josephine Meckseper, Visiting Artist in Sculpture at Yale 2012 (MFA from CalArts)
Blow-Up (Michelli, Knee-Highs). 2006, Chromogenic color print, 199.9 x 159.8 cm.
“Josephine Meckseper’s work focuses on particular aspects of the society that don’t make any sense: the quest for oil and profit while a civilization cannibalizes itself, the usurpation of radical ideas and movements by marketing campaigns, and how corporations convince you to buy a brand of underwear.” (BOMB Interview, 2008)