{"id":125026,"date":"2025-09-11T09:50:24","date_gmt":"2025-09-11T13:50:24","guid":{"rendered":"https:\/\/www.bu.edu\/cfa\/?post_type=bu-article&p=125026"},"modified":"2025-09-11T09:50:25","modified_gmt":"2025-09-11T13:50:25","slug":"creatives-in-practice-toni-pepe","status":"publish","type":"bu-article","link":"https:\/\/www.bu.edu\/cfa\/news\/articles\/2025\/creatives-in-practice-toni-pepe\/","title":{"rendered":"Creatives in Practice: Toni Pepe"},"content":{"rendered":"\t
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TONI PEPE<\/strong>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/h1>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t

Boston University’s Chair of Photography and Associate Professor of Art is an artist-in-residence at the Boston Public Library\u2019s Special Collections, where she focuses on the material life of photos and clippings that document women in the media. <\/h4>\n\t\t\t\t\t\t\n\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t<\/div>\n\n\t\t\n\t<\/div>\n\n\t\n
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September 11, 2025<\/div>\n\t\t\n\t\t\t\t
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One thing that gravitates the next generation of artists to Boston University College of Fine Arts<\/a>? Knowing that their professors, advisors, and mentors are also working artists, gaining real-world experience and bringing that back into the classroom through their curriculum, lessons, and talks. In CFA\u2019s Creatives in Practice<\/strong><\/em> series, your favorite CFA faculty and staff members share the work they\u2019re doing off campus, locally, nationally, and globally.<\/p>\n\n\n\n

Growing up, Toni Pepe<\/strong><\/a> (MET’11) vividly remembers when her dad, a repairman, would take her with him to look through garbage before trash pickup day to see if he could give new life to something that someone else may have seen as waste. For Pepe, Chair of Photography, Associate Professor of Art at Boston University School of Visual Arts<\/a>, this simple weekly routine with her dad is what led her to discover her passion for art. “Looking back, I realize that\u2019s where I learned what it means to be an artist: to turn toward the things everyone else has turned away from and see the value in them.”<\/p><\/div><\/div>\n\n\n\n

Just like her dad’s garage, filled with knick-knacks and gadgets, Pepe’s studio contains boxes and boxes of vintage photographs. A photographer and visual artist who’s had more than 10 solo exhibitions and 45 group exhibitions, Pepe specializes in exploring memory, motherhood, storytelling, and identity through photography, with a deep interest in photographic archives. In 2019, Pepe launched her ongoing series, Mothercraft<\/a><\/em>, where she uses old abandoned press photos of how mothers were viewed in the 20th century and incorporates them into her own photographs. <\/p>\n\n\n\n

In this installment of CFA’s Creatives in Practice<\/strong><\/em> series, Pepe, who was recently promoted to the rank of associate professor<\/a> at BU, shares her experience working as an artist-in-residence at the Boston Public Library\u2019s Special Collections<\/a>, exploring the Women and Gender Issues Press Photography Collection<\/a>. Through this residency, Pepe’s project, Can I Hold You?<\/em>, focuses on the material life of the photographs found within the archive. Pepe then rephotographs them to discover what was overlooked by editors of the time. Pepe also dives into how this work goes hand-in-hand with her role as an educator, teaching print media and photography<\/a> students at BU. <\/p>\n\n\n\n

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Cradle, silver gelatin prints and maple<\/p><\/figcaption><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n

Cradle, silver gelatin prints and maple<\/em><\/p>\n\n\n\n

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Q&A WITH TONI PEPE<\/strong><\/h2>\n<\/div><\/div>\n\n\n\n
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CFA<\/em>: Tell us more about your artist residency at the Boston Public Library’s Special Collections. <\/h5>\n\n\n\n

Pepe:<\/em> <\/strong>As an artist-in-residence there, I have been exploring the Women and Gender Issues Press Photography Collection<\/a>, which includes press photos and clippings that document women in the media\u2014as victims, survivors, beauty queens, and pioneers. I\u2019m drawn to the contradictions in these images, where celebration and violence often coexist, reflecting cultural narratives about gender and power.<\/p>\n\n\n\n

My project, Can I Hold You?<\/em>, focuses on the material life of these photographs\u2014the crop marks, handwritten notes, paint, and stamps that show how editors shaped what we see. I rephotograph and work back into the images using light, paint, ink, and folds to highlight what\u2019s usually overlooked. For me, the archive isn\u2019t just a place to find stories but a space to question how those stories were constructed in the first place.<\/p>\n\n\n\n

Recently, the Boston Public Library acquired two pieces from Can I Hold You?, <\/em>one of which will be a part of the group exhibit Revolution! 250 Years of Art + Activism in Boston<\/a><\/em>, opening October 22, 2025. <\/p>\n\n\n\n

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From left: A Good driver<\/em>, inkjet on Kozo with staple; detail from Pepe’s studio; Murderer of His Wife<\/em>, inkjet on Kozo with blind embossment, ink, and graphite<\/p>\n\n\n\n

How does your real-world experience connect to your role as a faculty member at CFA? <\/h5>\n\n\n\n

My work outside the classroom, especially with photographic archives, strongly influences my teaching. I spend time examining overlooked image collections and consider photographs not just as pictures but as physical objects with their own histories and stories.<\/p>\n\n\n\n

This hands-on experience shapes how I develop courses with a focus on material exploration, critical inquiry, and photography\u2019s role in cultural memory. I design curriculum that reflects my interests in archives and photographs as objects while leaving space for students to bring in their own ideas. Whether analyzing historical images, experimenting with processes, or discussing ethics and authorship, I aim to create an environment where students connect their work to larger cultural and visual narratives.<\/p>\n\n\n\n

\"Toni<\/figure>\n\n\n\n
What inspires you about this role? How do you think it makes you a better artist and educator?<\/h5>\n\n\n\n

Teaching and making have always gone hand in hand for me. My studio practice and classroom work feed each other in ways that keep both fresh and relevant. When I\u2019m working through a material or conceptual challenge in my practice, it often shapes how I build assignments or lead discussions. Conversations with students push me to rethink my approach or see things differently.<\/p>\n\n\n\n

This back-and-forth keeps me from getting stuck. Teaching helps me stay present, curious, and connected to a broader dialogue about artmaking. It\u2019s not just about passing knowledge along but creating space for exchange, experimentation, and growth\u2014for both my students and myself.<\/p>\n\n\n\n

\"Toni<\/div><\/div>
This hands-on experience shapes how I develop courses with a focus on material exploration, critical inquiry, and photography\u2019s role in cultural memory. I design curriculum that reflects my interests in archives and photographs as objects while leaving space for students to bring in their own ideas. Whether analyzing historical images, experimenting with processes, or discussing ethics and authorship, I aim to create an environment where students connect their work to larger cultural and visual narratives.<\/div>