Yale University – Art Spiel

September 15, 2026September 13, 2026, by Agnese Fanizza

Serena Scapagnini: Painting Memory

Serena Scapagnini, Saliency, La Memoria Cangiante

Memory is a fickle thing. However, when viewed through a neuroscientific lens, memory is also a biological process. Serena Scapagnini’s artistic practice, her recent Saliency, La Memoria Cangiante (2026) in particular, explores the retrieval of memory in its interdisciplinary entirety. Inaugurated on June 4th as a permanent installation at the Wu Tsai Institute at Yale University, Saliency, La Memoria Cangiante opens a wider reflection on the position of memory, whether as process or personal attachment, in Scapagnini’s work and current projects.

May 4, 2022May 4, 2022, by Etty Yaniv

Natalie Westbrook: Faces at Zynka

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Natalie Westbrook’s exhibition at ZYNKA Gallery in Pittsburgh features new paintings on canvas and drawings on paper. Westbrook depicts faces as thick lines immersed in saturated hot pinks, greens or monochrome gradations—altogether fluctuating between the monstrous and the angelic, the scary and the pathetic. Sometimes they are solitary and sometimes they indicate twins or perhaps a fragmented self. In her catalogue essay on Natalie Westbrook’s work, Larissa Pham observes that Faces “come for you, leering, grinning, mouths a garish lipsticked rictus of joy, embedded flat against the canvas, their features seeming to emerge from the psychological fabric of the painting itself.”

January 17, 2022January 9, 2022, by Etty Yaniv

Brenda Zlamany – Shifting Historical Iconographies

In Dialogue with Brenda Zlamany

Portrait of Brenda Zlamany with *the Davenport Dining Room Scene*, 2018. Oil on panel. Left panel: 58 x 42 in. Right panel: 58 x 39 in. Photo courtesy of Robert Lowell.

In recent years we have been experiencing a major re-examination of iconographies and narratives portrayed in historical paintings and sculptures—portraits of male figures re-evaluated and removed, portraits of females and people of color, added. Working within the context of historical portrait painting, till surprisingly quite recently, has implied working within a mostly male dominated territory, for both artist and subjects. Additionally, depicting Historical figures requires the artist to develop their own research approach, which typically differs from the process of depicting living subjects. Painter Brenda Zlamany, who has been commissioned to paint several substantial group portraits of historical women, among them—Yale’s First Seven Women PhDs and Rockefeller University’s five women scientists—elaborates on these issues and describes her approach to historical portrait paintings.

October 12, 2020October 12, 2020, by Etty Yaniv

Maria de Los Angeles in Domestic Brutes at Pelham Art Center

In Dialogue with Maria de Los Angeles

Artist in her Studio. Photo by Ryan Bonilla 2019 . Photo by Ryan Bonilla 2019

Maria de Los Angeles says she feels very blessed to be included in the Domestic Brutes exhibition at the Pelham Art Center. A DACA recipient, she grew up undocumented and currently she is working on getting her citizenship, looking forward to contributing by voting for the first time. “Since I arrived to this country 20 years ago, I have looked forward to Voting. I love this county and consider it my home and can’t wait to do my part by helping elect new people. I truly believe we can build a better future together,” she says.