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Dana Art Gallery Wellesley, MA Weird the Ame ica R

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Exhibition 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

    Ame icaR

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  • 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

    WeirdAme icaR

    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

  • Essays

    Matt Krawcheck

    Construction diagram for Single Reel Pixadigigiga-mitigator

    Ink on paper (drawing folds up into a pamplet)


  • Foreward

    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.

  • 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

    Matt Krawcheck

    Detail of scroll

    Mixed-media on paper



    mash-up singer

    Katie Enlow

  • 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

    they do.

    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.

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  • NeilBENDER

    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

  • Neil Bender

    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

  • MaleMixed media

    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

  • Sean McCarthy

    AndrealphusInk and graphite on paper: 8 x 7 inches2007

  • Sean McCarthy

    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 :

    Alexandra Mattraw

  • Detail of Prototype # 1: Single Reel Pixadigigiga-mitigatorwith projectionDimensions variable2009

    Detail, sketches for story development (machetes and boomboxes)Mixed media on paper towel2009

    Matt Krawcheck

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  • 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

    July, 2009

    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.

    Cyclone metal

    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.

    Alexandra Mattraw

  • Brent FogtInterspire

    Ink on paper 60 x 60 inches


  • Brent Fogt

    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

    further improvisation.

    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

    unexpected results.

  • Criminal TomboloInk on paper96 x 60 inches2007

    Criminal Tombolo(detail)

  • 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

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  • 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 [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


    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] 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


    2007 The Drawing Center Viewing Program, New York, New York


    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]:

  • Catalogue designed by Michael Frassinelli

    Printed in America by Lulu.comCopies of the catalogue are available at, or through the exhibit website: 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:, e-mail the gallery at:[email protected] or write to:

    Dana Art GalleryAttn: Michael FrassinelliDana Hall School45 Dana Road, Wellesley, MA 02482

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    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.

    Alexandra Mattraw

  • 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