the new weird america
Embed Size (px)
DESCRIPTIONExhibition catalogue for "The New, Weird America" recent show at the Dana Art Gallery in Wellesley, MA, featuring work by Neil Bender, Brent Fogt, Matt Krawcheck and Sean McCarthy, curated by Michael Frassinelli, with an essay by Erica Plouffe Lazure, poems by Alexandra Mattraw, and photography by Pat Cassidy Mollach
Dana Art Gallery Wellesley, MA
Weirdt h e
The New, Weird AmericaExhibition Catalogue
Copyright 2010 The Dana Art Gallery
All rights reserved. No part of this publication may be used without written permission of the publisher.
All artwork the artists. Unless otherwise noted, all reproductions courtesy the artists, their galleries, or their collectors. Poems Alexandra Mattraw. Introductory essay Erica Plouffe Lazure.
t h e
painting drawing collage new media machines
the dana art gallery, wellesley, ma
february 8 - march 12, 2010
Featuring work by:
Curated by Michael Frassinelli
Essay by Erica Plouffe Lazurewith poetry by Alexandra Mattraw
and Photographs by Pat Cassidy Mollach
Construction diagram for Single Reel Pixadigigiga-mitigator
Ink on paper (drawing folds up into a pamplet)
New. Weird. America. Depending on whom you talk to, these words dont have as much meaning as they used to. In this Digital Age, something thought of as
new holds that title for a few weeks at best, until, with lightning speed, the new, new
overtakes it. With virtually every bizarre image available on the internet, the concept of
weird has also gone through a bit of a change. What was once thought of as outlandish/
radical/outrageous/offensive, whether it be in art, fashion or music (or politics, for that
matter), can, in a matter of years or even months, become acceptable, fashionable, and
eventually pass. With a changing demographic, fluctuating values, behavior-altering
technology and a steadily mutating popular culture, America in 2010 is certainly not the
place mom and dad remember as kids. Often it appears to be less like a melting pot and
more like some kind of hybrid pressure-cooker/atom-smasher that is in the middle of
creating a new form of matter/country/experience entirely.
The inspiration for this exhibit came about from this idea of suddenly waking
up, looking around at the changing cultural landscape and saying, You know what? I
think we are living in some strange future. It was put together as homage to/rip off
of the wonderful touring art exhibit entitled The Old, Weird America, recently held
at the DeCordova Museum.1 While the artists in that exhibit found common themes
looking back at the peculiar American past, the artists in The New, Weird America find
1. The title was taken from the title of Greil Marcus book about Bob Dylan and the various inspirations and
parallels to American history and culture found in the Basement Tape recordings of 1967.
themselves looking ahead, looking behind, and looking around at this brave new world we suddenly live in.
Their inspirations are varied, their approaches to art-making different. The things they share are some serious
surrealist tendencies, a dash of obsessive-compulsive work methods and a unique vision that allows them to
create engaging work in a highly personal style. And, for the most part, the average person (Jane Q. Public,
your uncle, Joe the Plumber, take your pick) would probably look at their work and say, Thats interesting ... but
a little weird.
(As it happens, after I chose the title The New, Weird America, I soon found out that the phrase had
already been coined years earlier--specifically by David Keenan in the August 2003 issue of the British avant
guard music magazine The Wire. The article was about the Brattleboro Free Folk Music Festival in Brattleboro,
Vermont, where a new psychedelic folk (or freak folk) movement was bubbling up.2 Coincidentally, I was
introduced to the artists in this exhibit--Neil Bender, Brent Fogt, Sean McCarthy and Matt Krawcheck--when
we all met just up the road from Brattleboro in Johnson, Vermont, as artists-in-residence at the Vermont Studio
Center, in the summer of 2009. Isnt that weird?)
Id like to thank the artists for their help in creating this exhibit and also fellow VSC writers/artists-in-
residence for their contributions: Erica Plouffe Lazure (for her thoughtful essay), Alexandra Mattraw (for her
wonderful poems, which are interspersed among these catalogue pages), and Pat Cassidy Mollach (for allowing
us to include her portraits of the artists and several other photographs). Id also like to thank the Vermont
Studio Center, the Dana Hall School for continuing to support the gallery program, and finally to Mr. Al Gore
for inventing the internet. Without e-mail, web searches, on-line servers and Facebook communications this
exhibit and catalog--and the world as we know it--would not exist.
--Michael Frassinelli Curator
2. New Weird America. Wikipedia. http://en.wikipedia.org/wiki/New_Weird_America
Collage in the New, Weird America and the (un)Making of a Mallard
By Erica Plouffe Lazure
Im thinking of a mallard.
The writer Donald Barthelme once wrote that collage is the central
principle of all art in the twentieth century. If Barthelme were alive today, hed no
doubt be surprised that his collage theory has spanned well beyond the creative
arts, as well as the twentieth century. For in these times, our lives play out in a sort
of collage. Daily we deal with paradox and juxtaposition, placing in contextin
collage, if you willthe oftentimes disparate and bizarre elements of our lives.
Im thinking of a mallard in Vermont whose wings have been clipped.
Now more than everbetween musical mash-ups and auto-tune web
videos that meld techno beats and newsreels with spoofed, digitized versions of
a politicians catch phrasecollage as an experience of life is in full-force, moving
far past the possibilities afforded by grade-school scissors, oak tag, and a few
old magazines. How else could a McDonalds hamburger franchise thrive in cow-
loving India? How else can we account for the flourishing success of reality TV
Detail of scroll
Mixed-media on paper
shows and self-outing online social networks in a culture obsessed with
privacy? And how is it, with our nation at war, that the President of the
United States can receive the Nobel Peace Prize? Perhaps its fitting that he
did: each of us knows the difficulty of diffusing hostile situations with the
people in our lives. Setting the tone for peace may be just what we need.
The lone mallard quacks. He swims in a river swollen from two days of rain. He quacks to no one.
It makes sense, then, that collageas an art form, as a narrative
strategy, as an experience of life in this particular moment in timeholds
relevance. We live and work in the cut-and-paste. We take fragments
of ideas, fragments of sentences, and synthesize them into a seemingly
coherent whole. Collagetaken from the French word for glue
celebrates appropriation. It takes an existing idea or object and mixes it
with imagination. It reinvents what is into what might be. Borne of this
energy, collage yields something new, something never before considered or
Crossing the bridge above the swollen river is a woman on her way to lunch. She stops to watch the mallard. She notices a note of panic in his quack. He wont stop quacking. She sometimes sees a flock of mallards on the river, but not today. She looks upstream, then downstream. Where, she wonders, is his family?
The work in the New, Weird America exhibit offers an experience
of this kind of collage: an amalgam of invention, appropriation, playfulness,
and spontaneity. For Sean McCarthy, it emerges in the pen-and-ink birth of
creatures never before imaginedpart spooky, knowing camel, part sweet
demon, part winged fish. For Brent Fogt, it surfaces in patient, topographical
Sean McCarthyUvallInk and graphite on paper: 9 x 8 inches.2007.
undertakings composed of a hundred thousand meticulously drawn
circles. For Matt Krawchek, it is a mission to paint an epic personal
narrative that ricochets from Big Bird to the boom box, from Mini Me
to a new take on PowerPoint. For Neil Bender, it is a sexploration of
eros in hot gummy pink flashes through the lens of pop culture and
cutouts of wandering pheromones.
The mallards smooth green head moves left, then right, as though it is searching for something along the shore. The woman holds an umbrella in the crook of her arm, convinced the rain will return. She also is convinced that the swollen river has swept away the other mallards and he alone is the sole survivor, now looking in vain for his loved ones.
As creators, we must experience juxtaposition in order for a
connection to be made. For within these seeming bifurcated spaces
lies the gift of connectivity. In recognizing that the links between
objects and ideas can be as important as the objects and ideas
themselves, we are able to experience the nature of relationships. We
are able to see within ourselves how juxtaposition can reside, how
that which we view as other, as not me, can become me with a
little thought and compassion. It is in the recognition of the energetic
interface of two seemingly separate entities that enables us to care
about something other as our own, and to make it ours.
The woman on the bridge continues to watch the mallard maneuver through the swift, swollen river. His yellow webbed feet kick and kick against the current, the sheen of his green feathers gives a blueish hue. They are both waiting for another mallard to show, she thinks. But none do. After a time, it begins to rain. She opens her umbrella and crosses the bridge for lunch.
Brent FogtLongshore Driftink on paper, 60 x 962007
Matt KrawcheckGear-synchronizedPixadigigiga-Mitigator Plywood, hardware, lenses,lights, etc, ink on acetate2009
Whether we are artists or scientists or writers, we are
continually at the forefront of imagining what could be. What might
be. In the studio or in the lab, we fly by the seat of our patched-up
pants, trying to find connection between the known world and the
unknown. Between the life we have and the one we envision for
ourselves and others. We examine the static between two or more
ideas in the hope of generating something new.
At lunch, the woman tells the table about the panicked mallard, about the swollen river. She speaks about the mallards frailty, his anxiety, his aloneness. Where is his family? she says. She realizes as she speaks she is no longer talking about the mallard, but about herself. For a moment, the table falls silent.
There must be something sacred in the act of noticing,
something in the desire for connection, for meaning, that gives birth to
art. For in that moment of noticing forms an experience of truth. Is it
a brush with the divine? Or does the divinity come from the value the
observer assigns to the situation?
A few days later, a sculptor whod heard the womans story at lunch invites her to his studio. He presents her with a sculpture of a panicked mallard made out of pieces of a hundred-year old piano. She holds in her hands the reconstructed mallard and smiles. Just earlier that week, shed watched the sculptor take a sledgehammer to the piano. He poured water in its seams to soften the ancient glue of an animal that for so long had held the instrument together.
The artwork that has been collected for this catalog and exhibit
could not be more different. The artists, all of whom convened in
Neil BenderPrimavera (detail)
painted installation 2007
residency in July of 2009 at the Vermont Studio Center, have together in these pages formed their
own collage. Their experience of the world makes possible art from mutated colonies of tiny circles.
It shows how a flip-through of US Weeklyor even a battle with a universitys IT departmentcan
inspire the next great painting. It produces imaginary creatures so realistic, and wielded with all the
studied precision of a field guide, that you are convinced they must exist somewhere. And perhaps
Leaving the sculptors studio that afternoon, the woman thinks, If there were no mallard and no river and no bridge, there would have been no lunchtime story. Without the mallard, the core of her own panic about isolation, about being alone, might have remained dormant. Her story would not have yielded a sculpture of a panicked piano mallard. It would not have yielded this essay.
Think about it. This is a story. Do you care about the fate of the mallard and his family? Do you
care about the woman? Do you care what the sculpture of the panicked mallard looks like? Do you
care about the destroyed piano? What about the connections among them?
If you do, Ive done my job.
And if you dont, then its up to you to make
the collageto search for the connection in the
juxtapositionwhether through this story, or one
you develop on your own. Consider this sentence
as your jumping-off point:
Im thinking of a mallard.
Artists / Works
Pat Cassidy Mollach Neil Bender from
Cartes de Visitegelatin silver contact print, 4 x 5 2009
Neil BenderN*pples are InMixed media on paper, 13 x 92008
My work is the epitome of Bouchers quote: I detest the natural world because it is too green and poorly lit. The aim of the work is to seduce and give pleasure through imagery that is social and accessible, that loves the idea of surface as a way of picturing honest yet mischievous belief systems. The work is a communicative device that takes imagery that is exploited by our popular culture and forms a new interface for open dialogue, with an interest in pleasure, sensuality, and black humor as the starting points. Through a restructuring of provocative images, I hope to open up new contents that are potentially morally questionable.
To suspend the viewers interaction with the work, I tend to deploys hooks such as graphic imagery and lurid color to create an overflowing, lascivious world of flowering, fluid fragments that are theatrical and explore many possible genders and sexual situations. Pink is used as a color of identification, which is descriptive of all of our internal bodies. Its feminine connotations are embraced and simultaneously upended to create aggressive images. Installation has become a way to create stages for the many characters of that emerge from my work; small theatres within larger theatres.
Primavera (Installation view)Latex on wall with paper pieces
approx. 12 x 20 feet overall2007
Since a typically-American adolescence of pop residue (such as baseball, pro wrestling, He-Man, hip-hop and shopping malls) in urban New Jersey, I have looked to imagemaking as a way of negotiating biological drives and urges with cultures beautifully decorative facades, social norms, and stilted morality. Most of our humor revolves around the obscene; my work aims to use humor as a start to open up other far-reaching and probing investigations. Without having rigid expectations from the viewer, I hope they can use these objects for the alleviation of anxiety and the eradication of desire to reach a welcoming space where every fantasy and fetish is potentially fulfilled.
Randy (Detail, installation view)Latex and silk screen on wall with framed works on paper2008
Pheromone Spiral125-8 x 10 inch paper pieces on floor2006
PunditocracyOil, acrylic, collage on canvas
70 x 107 inches2008
FemaleMixed media17 x 14 inches2007
17 x 14 inches2007
Four PrigsInk and acrylic on marbelized paper
22 x 27 inches2008
Mash-upMixed media17 x 13 inches2007
Floating DressesMixed media
22 x 30 inches2004
DallasAcrylic on paper14 x 17 inches2005
White BoyAcrylic on paper
14 x 17 inches2005
Inside the Construction : The Reason for PaintingA poem by Alexandra Mattraw
Your paintings like a rocking horse, or the story where a
boy rides his death every night. Gambles his colors for a
soul. Back roads stretch cacti push and prick. Taste cattails
and trains. Gardens hang beer bottles and broken Spanish.
Every shard a thread a puppet I hold. To mimic you
mimicking. Tightly our fleshy palms sweat the jukebox
wine. Coughs swill elms and reddened wolves that paint
you painting them. Nicotine incisions. Hank Williams. Hot
dog cart bells rounding each window. New moon slants
lean two children in a yard. They laugh. Brown fenced wet
newspaper and birches weep their skins. My sticky hands.
You mouth swollen dahlias from drunk sidewalks. Morning
punctures your front door hinge. Sunlight hems the skirts
between our hands. Every photograph you tried to paint.
Even the dirt under your own nails that grow even after
Pat Cassidy Mollach Sean McCarthy from Cartes de Visite, 2009, gelatin silver contact print, 4 x 5
AndrealphusInk and graphite on paper: 8 x 7 inches2007
The work in this exhibition is made up of two kinds of drawings: portraits of demons and biomorphic abstractions. First, although demons show up often in the history of art, they seem to be rarely taken seriously as subjects of inquiry; when I was an undergraduate, I had to sit in art history classes listening to hour upon hour of comparisons between depositions or depictions of the Madonna or treatments of drapery, but when demons or monsters showed up, their presence was merely noted, sometimes with a condescending acknowledgement that they suggested imagination on the part of the artist. I cant think of any attempt to develop a morphology of demons, or to unpack their individual meaning with any specificity. So I present demons in a portrait format, giving them the same kind of individual attention one might give to human subjects. I am also interested in demons because theyre often depicted as animal hybrids, which have long been subjects of my work. When animal forms are used to represent demons, they have a specific relationship to human morality as embodiments of evil. I assume this happens because wild animals are things we fear (that might maul or eat us) or desire (this is the origin of visual art: hunters painting, on cave walls, animals they wish to catch and eat), and fear and desire are elements of human experience that moral systems, in part, are meant to control.
Like the demons, the abstractions are also hybrids, in a sense; they just havent been resolved into individual figures. They evoke or suggest different forms without pinning them down as signs or symbols. With the way the drawings are made, I want the representations of organic forms to be convincingly corporeal, but I also want them to be delicate and apparitional. Even when the images are resolved as figures, I want to suggest that theyve just barely materialized and may yet transform into something else. In the abstractions, this metamorphic quality is more obvious.
AnastomosisInk and graphite on paper: 8 x 7 inches2007
Botis lInk and graphite on paper: 8 x 7 inches2009
Botis llInk and graphite on paper: 8 x 7 inches2009
AstarothInk and graphite on paper: 8 x 7 inches2007
AmonInk and graphite on paper: 8 x 7 inches2007
BelphegorInk and graphite on paper: 8 x 7 inches2005
FlehmenInk and graphite on paper: 8 x 7 inches2006
HaborymInk and graphite on paper: 8 x 7 inches2007
DoppelgangerInk and graphite on paper: 8 x 7 inches2007
BullheadInk and graphite on paper: 8 x 11 inches2007
PropositionInk and graphite on paper: 8 x 7 inches2004
In the GrayInk and graphite on paper: 8 x 7 inches2007
RemissionInk and graphite on paper: 8 x 7 inches2007
Every Figure 1 : I
: is concentric :
: melts ice left in the glass :
: stakes faith in the impersonal :
: will say, Its fate!
: associates yellow flickered highway curve with thought but not the car behind :
: is damp :
: confuses a tender for tenderness that gives way to swallowing :
: writes down whats eaten :
: perceives television flash and bicker as a synonym for space :
: chalks the nightstand with aspirin :
: mistakes shredded highway tire treads for dead crows :
: swallows :
Pat Cassidy Mollach Mama from House and Garden, 2004, archival pigment print, 24 x 24
: will reply, The tumbleweed barbs the rumble strip hills
: believes the deer will migrate through the deer underpass and live into the other side :
: buys green bottles to empty them :
: has a turbulent smile :
: talks alone in the Kum and Go gas station bathroom but does not wipe the toilet:
: can argue, Mushrooms and stones are currency :
: thinks the heart has a smell :
: does not see window sunlight archetypes :
: repeats whiter hitter whiter hitter alone so leaving while sleeping :
: hides why :
: grows a root canal as words do, inside decades :
: believes the river has a beginning :
: will pay for it :
Detail of Prototype # 1: Single Reel Pixadigigiga-mitigatorwith projectionDimensions variable2009
Detail, sketches for story development (machetes and boomboxes)Mixed media on paper towel2009
Pixadigigiga Crisis refers to the wholesale abandonment of reliable and accurate 35mm slides in favor of pixadigigiga-ray emitting devices, the harmful effects of pixadigigiga-radiation on both humans and electronics, the widespread ignorance thereof, and the conspiracy behind it all. Pixadigigiga radiation has a wavelength of 10 to the -14th power and comes right after Gamma rays on the electromagnetic spectrum. Im part of an organization dedicated to publicizing the truth about pixadigigiga rays and the digital projectors that emit them. Currently, were working on another mechanical projector that projects from four different scrolls of acetate simultaneously. The goal is to create a presentation that will more clearly and concisely explain the Pixadigigiga Crisis. There will also be a pamphlet, summarizing the presentation, that unfolds into instructions on how to build your own pixadigigiga-ray free projector. Our organization is the Supreme Council for Revolution Necessary
Matt Krawcheck and the Pixadigigiga crisis
to Stop the Spread of Technocratic Corruption (the Supreme Council for short) headed by my alter-ego his excellency, the honorable Dr. Matty Tang Tang PhDiddy the merciful, elected chairman of the above and champion of the causes thereof. Dr. Matty Tang has graciously appointed me head of the Division for Research on the Pixadigigiga Crisis, in charge of the current project.
Without getting into too much technical detail, I will warn that pixadigigiga-radiation is highly sensitive to magnetic shifts. The Supreme Council predicts that in the year 2012 when the earths magnetic poles switch Digital (PDG-ray emitting) projectors will no longer be able to contain and direct the radiation. At this point PDG-radiation will burst forth from its host devices and travel for thousands of miles, around corners, through keyholes and up drain pipes, scrambling all circuitry in its path. Its crucial that we do NOT panic. The Supreme Council has developed two prototypes for PDG-ray free projectors that can be built out plywood, computer keyboards and magnifying glass lenses. These innovations will allow us to communicate with and teach future generations as we did in the days of Powerpoint.
Studio view of Prototype # 1: Single Reel Pixadigigiga-mitigator and of mixed media scroll
entitled Notes for the Tales of the Supreme Council, the Champions of the Causes Thereof, and the
Tradition, Honor, Discipline and Excellence Therein, 2009
The artist at workVermont Studio Center
Detail of scroll sectionMixed media on paper2009
Detail of Prototype # 1: Single Reel Pixadigigiga-mitigator
with projectionsDimensions variable
The Pixadigigiga CrisisPamphlet: printed paper and mixed media with writings7 x 10 inches, folded2009
Detail of reverse of unfolded Pixadigigiga Crisis pamphlet forming a construction
diagram for Prototype # 2: Gear Synchronized Pixadigigiga-mitigator X4
Ink and mixed media on paper20 x 28 inches
Prototype # 2: Gear Synchronized Pixadigigiga-mitigator X4
Studio viewWood, lenses, lightbulbs, assorted
hardware and wiring, ink on acetate, duct tape
Stills from studio tour videoPhiladelphia, PA2010
To Become Invisible
I admit little deaths.
City lung-shards pulp cigarettes.
Dust, zero aperture.
So the causeway imitates the dial of weathervanes.
My caws red-combed sweeping.
Eyes as the reason we cant see, I toss
the seed into the river.
As if a penny can turn itself. In a palm,
gleaming. I become
an albeit. A black cat licks
his eye-whites clean.
A gibbet moon banana ugly.
guns skeletal and fences nothing.
Smaller, my whine pines
the taste of mud.
A tractor bleats diesel rattle
and so we list ourselves.
Ribbed fern sway mistakes breathing.
No returns, a hinge
clamps each shutter I shiver back.
In the garden, a woman
stuffs her mouth with quarters to count them.
I swallow to watch her.
Ink on paper 60 x 60 inches
My current work is composed of large drawings and sculptural
installations. I build my drawings by amassing small units to create
abstract forms that vary from the topographic to the decorative.
The ubiquity of circles appeals to me, as does the potential to read
them as simultaneously microscopic and cosmic. Circles are also
infinitely flexible, making it easy to lay one next to another in multiple
directions. The patterns in my drawings refer to, among other things,
aerial photography, maps, turbulent water, live oak trees, coral reefs,
ant farms, and paisleys. Though the drawings resemble fractals, the
shapes vary greatly depending on the viewers distance from the work.
I begin with little or no idea what a drawing will eventually look
like, but by limiting my range of choices to a specific kind and size
of mark, I have enough information to proceed. These self-imposed
limits produce a high degree of repetition, but they also leave room
for improvisation. As I continue to draw, I attempt to balance chaos
and order, positive and negative space, movement and stasis. I send
out paths of ink into blank space and build around them. Forms begin
to emerge after two or three days of drawing. At this point, I lightly
sketch outlines for the rest of the forms, which become containers for
Intrepid ArborInk on paper24 x 108 inches2007
The result is a series of fantastic placesislands or continents
unoccupied by human or animal. I want viewers to imagine traversing
these places, exploring their topography and pattern. I am also
interested in how the viewers experience changes as they approach
or move away from the work.
My installations also rely heavily on repetition. I respond to the
personality of a site by manipulating and arranging simple materials
in the space. For example, one recent basement installation involved
coiling miles of candle wicking. In another installation that referenced
Roman aqueducts, I suspended a block of ice from the ceiling,
captured the melting water with vinyl tubing and directed the flow
of water into a mold of identical size to the ice block, a task that I
repeated daily. Repeated actions are as much a part of my installations
as they are my drawings.
In all my creative output, I am fascinated with process. To capture
how a piece changes over time, I document much of my work with
photographs and video. I also record myself working. The result
has been a series of animations and videos that explore material
transformation and the idea of artist as worker. In addition, I am
constantly testing new ways of working. One work in progress is an
eight-foot long scroll of paper. I limit myself to drawing on a small
section at a time to prevent myself from seeing the entire composition.
I am intrigued with how constraints such as these can produce
Criminal TomboloInk on paper96 x 60 inches2007
TransplantInk on paper60 x 60 inches2007
Persistent TravelerInk on paper
96 x 60 inches2006
Criminal TomboloInk on paper96 x 60 inches2007
Persistent Traveler (detail)ink on paper6 x 60 inches2006
Projection: The Proposition
You must break it to use it. Rain stutter, hesitation of leaves. Rain sheets whitened by skys contrast. City, skylines turned pulp in fog, and the sudden question of entrance. To be astonished, we become mirrors resting inside freeway spines, our desire hidden inside the sound of wheels. Cement vertigo. The no inside alone. What color is an answer, with eyes edged coal, stomach of soured reds. What slopes inside vowel belly, rounded O and i is engulfed, still another Where does the we go from here even stitches recede to mere balding. Soon curtained moon, a fingernail pressed to fingertipped stars, a point to diameter beyond sea. Blue tissue folds skywards, in the blown weight of a darkness we invented.
AlexAndrA MAttrAw studied English at UCLA (BA), earning her MA in Humanities
from University of Chicago and MFA in poetry from University of San Francisco. She
was a poet-in-resident at Vermont Studio Center in July and lives in San Francisco. Her
chapbook, Projection, is forthcoming this spring from Achiote Press. Other poems have
also appeared in Seneca Review, Denver Quarterly, Verse, and VOLT.
neil Bender was born in Perth Amboy, New Jersey, and
currently lives and works in Florida. His work has been shown
nationally and internationally, at the Front in New Orleans, the
Boston Center for the Arts, the CUE Art Foundation in New
York, the Atlanta Contemporary Art Center, Palazzo Casali in
Cortona, Italy, and many other venues. He received the Joan
Mitchell Foundation MFA Grant in 2002 after getting his MFA
from the University of Georgia.
ericA Plouffe lAzure lives in Exeter, New Hampshire, where she serves as the 2009-2010 George Bennett writer-in-residence at
Phillips Exeter Academy. A graduate of the Bennington Writing Seminars, her fiction has appeared or is forthcoming in McSweeneys
Quarterly Concern, the Greensboro Review, the North Carolina Literary Review, and elsewhere.
Brent fogt is an Assistant Professor of Art at Millsaps College in Jackson, Mississippi. Born in
Ohio and raised in Texas, Brent creates intricate drawings and installations that reference maps, aerial
photographs and microscopic organisms. He has exhibited his work both nationally and internationally.
Brents work has been featured in New American Paintings, Art in America and the Houston Press. He
holds an MFA from the University of Michigan and a BFA from the University of Texas.
MAtthew KrAwchecK is a Miami-based painter currently attending the UPenn MFA program. Most
of his paintings are figurative narrative. He is currently engaged in making work that attempts to
expose the technocratic corruption underlying the ongoing Pixadigigiga Crisis, a theme that has
dominated his work for the last five years.
SeAn MccArthy (b. 1976 in San Antonio, TX) has a BFA from the University of Texas at Austin and
an MFA from Yale University. McCarthy is represented by Fredericks & Freiser in New York, where
he had his first solo show in 2008. His work has also been exhibited in a number of group exhibitions
in New York, London, and Basel. He currently lives and works in Brooklyn and is Assistant Professor
of Art at Lehman College of the City University of New York.
Pat Cassidy Mollach: Evolving American Turn of the Century Photography-Based Artist
Currently living in NY, her work is rooted in lifestyle choices that exist outside mainstream culture
and the changing roles of image-making at the turn of the century. Color images in this catalog are
from the House and Garden series made in pre-Katrina Louisiana. Portraits are from the Cartes
de Visite series, which explores ways to integrate local real time friending with the web.
MichAel frASSinelli (Curator) is a sculptor, teacher and director of the Dana Art Gallery in Wellesley,
MA. He received his BFA from the University of CT in 1982. His recent work, made entirely out of
piano parts, chronicles the history and culture of the fictional Pianista tribe, and incorporates objects,
writings, video, music and performance, exhibited in the style of a natural history museum. He has
exhibited in California, Connecticut, and most recently in the Greater Boston area.
Portrait by Pat Cassidy Mollach
Neil Bender [email protected]
2002 MFA (with Distinction), University of Georgia -Lamar Dodd School of Art1998 BFA, Rutgers University ---Mason Gross School of the Arts
2010 Circa PR Contemporary Art Fair, San Juan, Puerto Rico. The New, Weird America. Dana Art Gallery, Wellesley, MA.
2009 The Lilt, The Front, New Orleans, LA. *(solo) Florida Friendly, Contemporary Art Museum, Tampa, FL. Three-person show. 2008 Freaks, Privateer Gallery, Brooklyn, NY. Group show. Beyond Picturopolis, (with Elisabeth Condon and Michelle Weinberg), ArtCenter of South Florida, Riverside Art Museum, Riverside, CA. Selected work from Paintings Edge. Curated by Peter Frank. University of Alabama --Huntsville (solo)
2007 Picturopolis (with Elisabeth Condon and Michelle Weinberg), DACRA--Moore Space, Miami, FL. Bridge Art Fair, Catalina Hotel, Miami, FL. Concurrent with Art Basel, Miami, December 2007. Pick A Hole, Fuller Projects, Indiana University, Bloomington, IN. (solo) Artists Books: Transgression/Excess, SpaceOther, Boston, MA.
2006 Circa PR (Puerto Rico), Puerto Rico Convention Center, San Juan, PR,. Group exhibition. The Violence Below, (with Chad Abel), Edge Zones, Miami, FL. Two-person show. Bridge Art Fair, Catalina Hotel, Miami, FL. Concurrent with Art Basel, Miami, December 2006.
2005 The Drawing Show, Mills Gallery, Boston Center for the Arts, Boston, MA Contemporary Queer, Shaw Center for the Arts, Brunner Gallery, Baton Rouge, LA. Pink for Miami, Edge Zones, World Arts Building, Miami, FL (Curated by Genaro Ambrosino).
2004 Contemporary Art Museum, Tampa, FL. (catalogue). New American Talent 19, Arthouse, Jones Center for Contemporary Art, Austin, TX. Juror: Jerry Saltz CUE Art Foundation, New York, NY. Mostra, Palazzo Casali, Cortona, Italy. Gender Acts, Roe Art Gallery, Furman University, Greenville, SC. Three-person exhibition.
2003 Scope Art Fair, Miami, FL. (Saltworks Gallery)Lust, Fe (Iron) Gallery, Pittsburgh, PA. Nether Regions, Fugitive Art Center, Nashville, TN.* Two-person exhibition. Heaven In Your Hand, London Gallery, Athens, GA.* Solo exhibition. Viscera: The Subjective Body, Athens Institute for Contemporary Art, Athens, GA.
2002 Gone Tomorrow: A Series of Ephemeral Installations, Atlanta, Contemporary Art Center, Atlanta, GA. Rise and Fall, Georgia Museum of Art, Athens, GA.
Sean McCarthy www.schemingbehemoth.com [email protected]
Yale University School of Art, New Haven, CTMaster of Fine Arts, Painting and Printmaking, 2001
University of Texas at Austin, Austin, TXBachelor of Fine Arts, Studio Art, with emphasis in Painting and Drawing, 1998
Fredericks & Freiser, New York, NY, 201011 (forthcoming)
Fredericks & Freiser, New York, NY, I Think of Demons, 2008
Fredericks Freiser Gallery, New York, NY, Nicholas Di Genova & Sean McCarthy, 2005
SELECTED GROUP EXHIBITIONS
Peter Fingesten Gallery, Pace University, New York, NY, Insomnia, 2009
Privateer, Brooklyn, NY, Freaks, 2008
Fredericks & Freiser, New York, NY, They Fought a Running Engagement (Collaborations), 2008
Peter Fingesten Gallery, Pace University, New York, NY, Drawn, Hanged and Quartered, 2007
Jeannie Freilich Fine Art, New York, NY, 100 Artists - 100 Watercolors, 2006
New York Institute of Technology, New York, NY, DIY TLC, 2006
One in the Other, London, UK, Black Moon Island: Contemporary International Drawing, 2006
Fredericks Freiser Gallery, New York, NY, Graphic, 2004
Cubitt Artists Gallery, London, UK, Publish and Be Damned, 2004
Matthew Krawcheck [email protected] www.mattkrawcheck.comEDUCATION
University of Pennsylvania School of Design, MFA expected 2010Kansas City Art Institute, BFA, Painting, May 2006Yale/Norfolk Painting Program, Fellowship, summer 2005 New World School of the Arts, high school, Miami, FL, 2002
2009 Vermont Studio Center summer residency, awarded by vote of UPenn faculty2006 Kansas City Art Institute commissioned a painting presented to donors of the new painting building AWARDS AND GRANTS
2007 Featured in Irreversible Magazine Collectors Edition and Wynwood, the Art Magazine Art Basel Special Edition
2006 Named Best Emerging Artist 2006 by Kansas City art magazine, The Pitch2002-2006 Kansas City Art Institute, Competitive Scholarship2002 Grand Prize winner, Expressing Freedom, VSA Arts2002 Semi-finalist, Presidential Scholar in the Arts2001 NFAA ARTS National Finalist, Level II SELECTED GROUP EXHIBITIONS
2009 Or Is it? 2nd Year MFA Show, PennDesign, Philadelphia, PA2009 AfterDark, AD Projects, Chelsea, NY2009 Young Blood: New World MIXX, Artseen Gallery, Miami, FL2007 Second Look, Meyerhoefer Gallery, Lake Worth, FL 2007 Exposed! Art Formz Gallery, Miami FL2007 Young Guns, Meyerhoefer Gallery, Lake Worth, FL2006 Whoop Dee Doo, Rocket Projects Gallery, Miami, FL 2006 KCAI BFA Show, H & R Block Artspace, Kansas City, MO2006 Grothaus+Pearl Gallery, Kansas City, MO (with review in The Pitch)2006 KCAI Senior Thesis Show for painting department, Kansas City, MO 2005 Yale University, Norfolk Gallery2003 Home, KCAI Living Center Gallery 2003 Expressing Freedom, Hirshhorn Museum, Smithsonian Institution, VSA Arts exhibition
2005 Window paintings, Irving Building, KCAI2005 Painting Installation, Vanderslice Hall, KCAI2005 Cave Painting Installation, tunnels, Irving Building, KCAI2003 Sculpture Installation, Vanderslice Hall, KCAI
Brent E. Fogt [email protected] www.brentfogt.com EDUCATION
2007 MFA in Art & Design, University of Michigan, Ann Arbor1997 BFA in Studio Art with Highest Honors, University of Texas at Austin SELECTED EXHIBITIONS
2009 Mississippi Invitational, Mississippi Museum of Art, Jackson, Juror: Peter Plagens Accrual Method (solo), Visual Arts Gallery, Emory University, Atlanta, Georgia
Silent Topographies (solo), Lawndale Art Center, Houston, Texas
2008 Transplant (solo), The Fuller Projects, Indiana University, Bloomington, IndianaFaculty Show, Lewis Gallery, Millsaps College, Jackson, Mississippi
Three By Five, Mississippi Museum of Art, Jackson, Mississippi
2007 Runaway, Yacht Club Gallery, Detroit, MichiganThe Velocity of Gesture, The Dalton Gallery, Agnes Scott College, Atlanta, Georgia
Imprint of Place, Gallery Project, Ann Arbor, Michigan
2009 Mississippi Invitational, Catalogue, Mississippi Museum of Art, Jackson, Mississippi Curator: Peter Plagens
2007 New American Paintings, Midwestern Region, Open Studios Press, Boston, Mass. Juror: Elizabeth Dunbar, Curator of the Kemper Museum of Contemporary Art
2009 Peter Plagens, Mississippi Yearning, Art in America, November 2009 Dusti Rhodes, Brent Fogt: Silent Topographies, Houston Press, March 31, 2009 Scott Albert Johnson, A State of Talent, Portico Jackson, August 20092007 John Carlos Cantu, Map quest Ann Arbor News, March 11, 2007
CURATED ARTIST REGISTRIES
2007 The Drawing Center Viewing Program, New York, New York
FELLOWSHIPS AND AWARDS
2009 Visual Arts Fellowship, Mississippi Arts Commission Faculty Awards in Teaching and Research, Millsaps College, Jackson, Mississippi Artist Grant, Vermont Studio Center, Johnson, Vermont
2009 Vermont Studio Center, Johnson, Vermont
2006 The Hambidge Center for Creative Arts and Sciences, Rabun Gap, GeorgiaElsewhere Artist Collaborative, Greensboro, North Carolina
Projection: The Proposition was previously published in Denver Quarterly and To Become Invisible appeared in Cultural Society.
N o t e s :
Thanks to mashup singer Katie eNlow (and her brother dj/dt (a.k.a. Mr. E.) for performing at the NWA Opening Reception (thats the New Weird America, not the other N.W.A...)
[regarding poems by Alexandra Mattraw]
Alexandra Mattraw: [email protected]
Erica Plouffe Lazure: [email protected]
Pat Cassidy Mollach: [email protected]: http://slowbook.posterous.com/
Catalogue designed by Michael Frassinelli
Printed in America by Lulu.comCopies of the catalogue are available at Lulu.com., or through the exhibit website:
www.thenewweirdamerica.net...and soon on Amazon com.
T-shirts also available.
A digital archive of this exhibit and links to the artists websites can be found on the website as well.
The New, Weird AmericaFebruary 8th - March 12th, 2010Dana Art Gallery, Michael Frassinelli, Director
The Dana Art Gallery is located on the campus of the Dana Hall School in Wellesley, Massachusetts. It is open during the academic year, September to the middle of June, showing the work of faculty, alumnae, local and regional artists, and occasionally nationally recognized and international artists working in a variety of mediums and styles.
For more information and to submit work for consideration for future exhibitions please visit: www.danahall.org, e-mail the gallery at:[email protected] or write to:
Dana Art GalleryAttn: Michael FrassinelliDana Hall School45 Dana Road, Wellesley, MA 02482
Prayer (For No Metaphor)
All these things were out there/ waiting, innumerable, patient. How could I name even one
enough,/ call it only a flower or a distance? -Robert Creeley, Edges
A pine cone tilts a hammock.A picnic tabletop I sweep a body
sized broom. Not patient or impatient but sawed redwood. Mind contents
turned. Out. A pinecone?A name takes from trees
and geometrics. Edges.Cone meaning Latin wedge
or peak, a Greek spinningtop. So cruel to frame each
shingle, each fingernail pricks.Reaches without fingers but
lemonwood breached sapsideand not wanting. It mightve fallen
straight and pointed maybesideswiped a bed of fur
needles and a blue jays cacklegreening. It mightve tacked wind
in its fall then groomed sand,combed each grain for a little
knowledge. Pinecone hangs combs hangs triangles
backwards. Suited tongues.But tongues dont taste its core
like a plea. I give it telling. I force its windy greeting
as wave lap urgentis the shoreline finish. Yet not
meaning, not opening for any one body to assume :
How it fell or even how it formed such words
in a human mouth.
The New, Weird AmericaFeaturing work by:
Neil BenderBrendt FogtMatt KrawcheckSean McCarthy
Curated by Michael Frassinelli
Essay by Erica Plouffe LazurePoems by Aleandra Mattraw
Photographs by Pat Cassidy Mollach