Yossi Milo Gallery

Matthew Brandt, Meghann Riepenhoff, Kyle Meyer, Allison Rossiter

Alison Rossiter

represented by Yossi Milo Gallery

Since 2007, Alison has collected expired photographic papers from the 19th and early 20th centuries, creating an archive of over 1,800 individual packages that represent the rise and transformation of the photography industry over time. Even in dark storage, each box of paper reacted to conditions – moisture, humidity, physical damage, attacks by mould spores – that manifested in tonal changes when developed. These resulting tones are evidence of the papers’ experience and are taken by the artist to be the subject matter. Rossiter’s abstract, minimalist assemblages are composed of rare, expired photographic papers. The artist processes them using photographic chemicals, and they are now on view in Substance of Density 1918-1948, the artist’s third exhibition at the gallery, in New York City, through September 26, 2020.

Alison Rossiter’s photographs are in the collections of major public institutions such as the Philadelphia Museum of Art; the Minneapolis Institute of Arts; the Museum of Fine Arts, Houston; the Museum of Contemporary Photography, Chicago; the Center for Creative Photography, Tucson; and the J. Paul Getty Museum in Los Angeles.


Meghann Riepenhoff

represented by Yossi Milo Gallery

Working cameraless, Meghann places paper coated with homemade cyanotype emulsion. It will interact with ocean waves, rain, snow, or ice in the landscape. UV light and water activate the photochemistry, allowing nature to create an abstract image in tones of blue, sometimes leaving its trace on the paper which textures the surface with sand and other debris. In the end, each print is an imprint of nature, rather than an image of it.

Riepenhoff’s work has been exhibited and is held in the collections at the High Museum of Art, the Museum of Fine Arts (Houston), the Museum of Contemporary Photography (Chicago), and the Worcester Art Museum.

Riepenhoff is the recipient of a Fleishhacker Foundation grant, residencies at the Banff Centre, Rayko, and the John Michael Kohler Arts Center, and an affiliate studio award at the Headlands Center for the Arts. She is a 2018-19 Guggenheim Fellow.

Riepenhoff is based in Bainbridge Island, WA and San Francisco, CA.


Kyle Meyer

represented by Yossi Milo Gallery

For his Interwoven series, Meyer addresses Eswatini’s hyper-masculine culture by photographing its LGBTQ community.  For each male model, the artist creates an elaborate headwrap from fabrics chosen by each subject from textiles traditionally worn as headdresses by the Swazi women. After taking the subject’s portrait and creating a large-scale print, Meyer then hand-shreds the large-scale photograph and the head wrap. Strips are then together to create a textured, three-dimensional work. The resulting colourful images both conceal and reveal the men’s identities, whose sexual orientation is illegal in their country.

Meyer’s works are held in the permanent collections of Fondation Cartier pour l’Art Contemporain Paris, Hammer Museum LA, Microsoft Art Collection Washington, Thyssen-Bornemisza Art Contemporary Vienna, amongst others. He has held solo exhibitions in New York and London and participated in group shows throughout the world.


Matthew Brandt

represented by Yossi Milo Gallery

Matthew’s work revives traditional photographic techniques and finds common ground between the medium and the subject, sometimes creating prints that use physical elements from the topic itself. Brandt’s Silver series features images of trees at night produced as large-scale gelatin silver prints. Then treated with liquid silver and mounted on aluminium frames, recreating in a series of unique works his own personal experience of rapture at the natural world.

For his Wai’anae series, Brandt photographed the landscape of Oahu, Hawaii, took the printed photographs of Oahu and then rolled them in a mixture of soil and leaves from the island. He combined this with burlap, a material used in traditional Hawaiian burial, and lace, commonly used in Hawaiian festivals. He proceeded to bury the assemblage on a family farm in Wai’anae for a period of one to three months. As a result, the materials stripped the cyan emulsion to create vibrant hues of reds, oranges, and yellows layered against the soft cool colours of the landscape.

Brandt’s artwork was recently the subject of a solo exhibition, Rocks and Eagles,  presented at Newark Museum from March 2019 – February 2020, and was featured in prominent group exhibitions including Look Again: Collecting 45 Years of Photography, High Museum of Art, Atlanta; Ansel Adams in Our Time, Museum of Fine Arts, Boston; and New Territory: Landscape Photography Today, Denver Art Museum, Denver. His work is held in the permanent collections of Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles; Brooklyn Museum, New York; Art Gallery of South Wales, Sydney, Australia; Virginia Museum of Fine Arts, Richmond; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Royal Danish Library, among others. He received a BFA from The Cooper Union, New York and an MFA from UCLA. Brandt was born in 1982 in Los Angeles, CA, where he currently lives and works.

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