The Selection Committee
RADIO SHOW
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LIVE every other Tuesday from 4-6 pm
on Newtown Radio
in association with
International Objects & International Waters
Listen to Newtown Radio live HERE!
or live on Mixcloud HERE!
Past shows can be streamed on Apple Podcasts
below, or on Mixcloud.
Upcoming shows:
Sam Cockrell
Ted Mineo
Katarina Burin
Pam Lins
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July 1, 2025
A smooth, cool, mix for a hazy summer beach day.
- Que Sera, Wax Tailor, 2005
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Luv (sic.) pt3 Instrumentals, Nujabes, 2015
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In Mind, The Sweet Enoughs, 2020
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Afternoon Of A Swan, Speedy West, 1962
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Hare Tarot Lies, No Joy, 2013
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After Midnight, Skinshape, 2018
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Lansana's Priestess, Donald Byrd, 1973
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Honky Tonk, Miles Davis, 1974
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So Long (feat. Alice Russell), Quantic, Alice Russell, 2004
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In Memory Of Elizabeth Reed, Allman Brothers Band, 1970
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Terrapin, Syd Barrett, 2016
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April Suzanne, Robert Lester Folsom, 2014
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Tres Hermanos, Hermanos Gutiérrez, Dan Auerbach, 2022
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Resolution, Thievery Corporation, 2003
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Song for Brian Jones, Ultimate Painting, 2016
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Que Nega E Essa, Jorge Ben Jor, 2000
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Bom-Senso, Tim Maia, 1975
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(I'll Be A) Happy Man, The Latin Blues Band, Luis Aviles, 1968
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Valdez Off Crenshaw, Terrace Martin, 2016
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The Man with the Red Face, Anders Ponsaing, Claus Højensgård, 2022
- Sun is Shining, Füxa, 2022
Greg Carideo
June 3rd, 2025
“Won’t you let me see your naked body?” demands Leonard Cohen from Greg Carideo’s mixtape about looking and being seen. “They cannot see me naked,” replies Michael Stipe; Anohni and Yoko Ono weigh in. My delightful conversation with artist Greg Carideo traverses topics from Elliott Smith’s appearance on a demented FX morning show in 1995 to the close relationship between Lana Del Rey’s “Blue Bannisters” and Greg’s own work.
Carideo transforms steel, old t-shirts, bits of scrap metal, and other shopworn fragments into tabernacles of urban life. Each sculpture is a little world, a structure that carries narrative, materiality, and vernacular forms of architecture and adornment—ghostly bodegas, ramshackle duplexes, basilica-shaped cuchifritos.
For Carideo, collecting—impressions, images, writing—is a major part of his process. We talk about how his use of found objects, each one a little history of wear and tear, is a reflection of collected ideas and shapes that he transforms into palimpsests of time, material, and thought. We discuss all of this and more in this wide-ranging exploration of materiality, will, lyrics, and looking.
- Dalhart, Texas, 1967, John Fahey, 1971
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Clementine Live + Interview 1995 (Breakfast Time), Elliott Smith
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Blue Banisters, Lana Del Rey, 2021
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Memories, Leonard Cohen, 1977
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Among the Leaves, Sun Kil Moon, 2012
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Watch Me, ANOHNI, 2016
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Panic, The Smiths, 1987
- Solo, Frank Ocean, 2016
- Blues Run the Game, Jackson C. Frank, 2001
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Let X=X, Laurie Anderson, 1982
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Nightswimming, R.E.M., 1992
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Nobody Sees Me Like You Do, Yoko Ono, 2022
- Losing My Taste For The Night Life, Arthur Russell, 1993
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Regret, Fiona Apple, 2012
- The Well, Smog, 2005
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Tecumseh Valley, Townes Van Zandt, 1969
- When I Get to Heaven, John Prine, 2018
Greg Carideo was born in. 1986, in Minneapolis, MN, and lives and works in New York. He received BFA from Minneapolis College of Art & Design, Minneapolis in 2008 and an MFA from New York University in 2015. His work has been exhibited in solo exhibitions at Public Gallery, London in 2025; In Lieu, Los Angeles in 2024; Foreign & Domestic, New York in 2023; FR MoCA, Fall River in 2022; an GRIMM, New York in 2021. His work has been featured in recent group exhibitions at Silke Lindner, New York; Pangée Gallery, Montreal; 12.26 Gallery, Dallas; Galerie Nicolas Robert, Montreal; Margot Samel, New York; Public Gallery, London; ICA, Portland; and International Objects, New York. Several of Carideo’s exhibitions have garnered press, including a New York Times review for his solo exhibition, Dog Eared Reverie at Foreign & Domestic in 2023, a BOMB: Studio Visit for his solo exhibition ground work at Public Gallery in 2025, as well as group exhibitions featured in Cultured Magazine, Artforum, and the New York Times.
Landscapes of Fear, 5.2.2025 - 6.22.2025
May 20th, 2025
Complete playlist below; tracks in yellow were cut for time.
- Arkansas Coal, Nancy Sinatra, Lee Hazlewood, 1972
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Into the Void, Black Sabbath, 1971
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Welcome to My Nightmare, Alice Cooper, 1975
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Fire, The Crazy World Of Arthur Brown, 2010
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I'm a Gun, Lorne Greene, 1966
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Walkin' After Midnight, Patsy Cline, 1957
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Indian Love Call, Slim Whitman, 2010
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The End of the World, Skeeter Davis, 1994
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River Stay 'way from My Door, The Boswell Sisters, 2013
- Down By The River, Buddy Miles, 1970
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In the Year 2525, Zager & Evans, 2006
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Highways, Jim Sullivan, 2010
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It Never Rains in Southern California, Albert Hammond, 1972
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I Can't Stand the Rain, Ann Peebles, 1974
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Little Child Runnin' Wild, Curtis Mayfield, 1972
- Let's Burn Down The Cornfield - 2006 Remaster, Lou Rawls, 1970
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Synthetic World, Swamp Dogg, 2008
- On a Clear Day You Can See Forever, The Peddlers, 1993
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In My Room, The Walker Brothers, 1990
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Hospital, The Modern Lovers, 1976
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Don't Go Near The Water, The Beach Boys, 1971
- I'm Afraid of Americans, David Bowie, 1997
- Black Hole Sun, Soundgarden, 1994
- Darklands, The Jesus and Mary Chain, 1987
- I Guess the Lord Must Be in New York City, Harry Nilsson, 2013
- I Had Too Much to Dream Last Night, The Space Lady, 2013
Landscapes of Fear
Andre Yvon, Andy Kincaid, Brandi Twilley, Bruno Smith, Bryce Kroll, Cait Porter, Carlos Rigau, Chang Sujung, Charlotte vander Borght, Daniel Boccato, David Bordett, Greg Carideo, Jason Murphy, Jeff Williams, Jen Mazza, Lino Bernabe, Lucia Love, Marie Lorenz, Nate Heiges, Nick Irzyk, Nicholas Sullivan, Olivia Drusin, Patrick Carlin Mohundro, Philip Hinge, Pooneh Maghazehe, Quincy Langford, Rudolf Samohejl, Seung-Min Lee, Shaina Tabak, Shaun Krupa, Tuguldur Yondonjamts
"What begins as undifferentiated fear can take on the sharp outlines of a place."
Yi-Fu Tuan, Landscapes of Fear, 1979
International Waters presents Landscapes of Fear, a group exhibition exploring how fear materializes within our environments, shaping the spaces we inhabit and influencing our interactions with them.
In 1884 at the London Institute, John Ruskin delivered two lectures which would later be titled The Storm-Cloud of the Nineteenth Century, offering a critique of the atmospheric and moral decline of England, as perceived through his detailed observations of the sky. In his art criticism and philosophy, Ruskin defined the artist as an instrument of perception, attuned to the structures and meanings of the surrounding environment — and vulnerable to the environment’s corruption. In his observations of the sky, what Ruskin confronted was not a mere shift in weather, but rather the collapse of a coherent natural order under the conditions of industrialization. As new forms of labor severed human experience from the environment, the surrounding landscape, once embodying purity and the sublime, degraded into a formless and polluted field. As the environment deteriorated, so too did the artist's faculty of representation, mirroring a broader erosion of aesthetic sensibility and the social frameworks of daily life.
For Ruskin, the collapse of the natural world stripped the artist of perceptual agency, immersing them in an environment where the boundary between nature and artifice had dissolved. As the landscape's coherence unraveled, it transformed into a terrain marked by psychic disruption and material change. This disintegration of natural order revealed how fear organizes space, imposing fragmentation and instability onto the very ground of experience. That dynamic has only deepened with time, expanding into the digital, political, and ecological systems of the present — environments saturated not with soot but with surveillance, displacement, and accelerating collapse.
In the text that lends its title to this exhibition, Yi-Fu Tuan describes how fear extends outward into space, conditioning pathways and territories that frame how bodies inhabit the world. While Ruskin’s storm-cloud was a symptom of material and moral degeneration, the contemporary storm-cloud is diffuse, embedded within the infrastructures that mediate perception itself. Within this unsettled field, the artist is again positioned as both instrument and respondent, grappling with landscapes that are no longer stable grounds for meaning.
Responding to this precarious and shifting reality, the artists in Landscapes of Fear explore various modes of representing the underlying instability that characterizes our contemporary environments:
Chang Sujung’s plein air painting of Central Park, Mobile Observer 22, is rendered within the self-enclosed space of a shirt cuff. This imposition of the panorama, contained by the formal attire of labor, suggests a landscape mediated by societal roles—a world internalized and perhaps constrained by the very structures of the observing subject.
In the painting Portent 2, Jen Mazza revisits a fragment of Titian’s 12-block woodcut The Submersion of Pharaoh’s Army in the Red Sea (1514-15). A moment frozen after the cataclysmic event, the painting operates as a diagram of affect, isolating the linework from the original print to express the spatial and emotional disorder of the landscape following the destructive collapse of the sea over the Egyptian army.
In Lost Body, Shaun Krupa presses his body into slumping mud, creating a sculptural cavity of his shape within a geometric slab. Recalling Mesoamerican burial chambers, Krupa examines the process of the body returning to the earth. His imprint functions as both absence and presence, emphasizing where the boundary between self and environment dissolves.
In a pair of paintings, Brandi Twilley confronts the memory of her family's house fire, representing the destructive force and the subsequent aftermath. This visceral depiction highlights how fear can become deeply embedded within the spatial memory of a place, particularly when the very structures of dwelling and material stability are violently erased.
Bryce Kroll’s False Echo centers on a commonplace tool used to shape the natural environment — a used ECHO SRM-266 weed wacker which he found at auction from the NYC Department of Corrections. Kroll likens the process of landscaping to an aesthetic pursuit -- through a series of reproductions and manipulations to the weed wacker’s form, the object becomes a multifaceted symbol: a tool used to “civilize the chaos” of nature, an artifact with provenance linked to institutional labor, and an instrument whose re-formed existence reveals the landscape through the lens of its own manipulation.
In this exhibition, the artistic examinations of the surrounding landscape unfold within a contemporary context increasingly defined by pervasive and unseen systems of influence shaping our interactions and understanding of space. Surveillance capitalism, with constant monitoring, algorithmic sorting, and the conditioning of behavior, defines a distributed landscape of fear, a terrain now characterized by the deceptive reach of data extraction and predictive control, rather than solely by material degradation. Within this climate, a palpable anxiety permeates the social fabric, a sense of vulnerability and encroaching authoritarianism that colors our experience of even the most mundane spaces, leaving individuals to navigate a terrain where the grounds of autonomy and trust feel increasingly fragile.
May 6th, 2025
In this music-heavy show, painter Nick Irzyk brings a banging mixtape ranging from anarcho-punk to Finnish black metal to country.
We discuss his journey from the hardcore and skateboarding scene to zine-making, eventually leading to printmaking in college.
His paintings incorporate diagrammatic abstractions that resemble architectural blueprints or speculative spaces. The grid is a key structural tool, breaking forms into individual "cells" akin to a mirror ball or wireframe model—machines that hint at function but never fully activate.
There is a tension between clarity and ambiguity: in form versus space, scale, and references to industrial or institutional interiors like cockpits and nuclear reactors. These sometimes oppressive spatial compositions, force the viewer into tight confrontations with looming structures.
Underlying much of the work is a meditation on power—its potential energy, withheld force, and the emotional charge that creates a sense of terror through restraint and latent movement.
Complete playlist below; tracks in yellow were cut for time.
- Her Friends the Wolves, Coil, 1992
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Rauch-Haus Song, Ton Steine Scherben, 1972
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Hand of Doomish, Vincebus Eruptum, 2008
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Good Lovin’ Outside, BBC Version, Animal Collective, 2004
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This Ol’Cowboy, Marshall Tucker Band, 1974
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My Head is My Only House Unless It Rains, Captain Beefheart, 1972
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Samurai, Alan Vega, 2021
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Spirit of the God of Fire, Beherit, 2007
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Wrath of Zeus (Original Mix), The Eternals, 2000
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GeekUSA LateNiteTip, Gobby, c. 2012
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I Lied When I Said I Liked Your Zine, Charles Bronson, c. 1994-7
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Speed of Greed? Crass, 1983
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A Cowboy Overflow of the Heart, The Avalances & David Berman, c. 2012
- Spinebender, Godflesh, 1988
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Haunted & Nervous, Sizzla, 1996
- Flowers, Chug, 1992
- Some Came Running, Bane, 2001
- The Knife Song, Milk
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Free, Chakra, 1981
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1471, Babyfather, 2022
- To Hold You, Minimal Man, 1985
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Quin Boys II, Jandek
- Just Your Love, The Antennas
Nick Irzyk was born in 1988 in New Bedford, Massachusetts. He received his MFA from Virginia Commonwealth University in 2014. Select exhibitions include: Jack Barrett, New York (solo), Martos Gallery, New York (solo); Fall River MoCA, Fall River; KDR, Miami (solo); Nexx Asia, Taipei, TW; PMAM, London, UK (solo); Mana Contemporary, Jersey City, NJ; My Pet Ram, New York; Ruschman, Chicago, IL; Afternoon Projects, Vancouver, Canada; Syracuse University, NY (solo); Critical Path Method, New York/Baltimore (solo); No Place Gallery, Columbus, OH; The Pit, Glendale, CA; 247365, New York, NY; and 106 Green, Brooklyn, NY (solo), among others. He was a Keyholder Resident at the Lower East Side Printshop, New York, NY, in 2019-2020. He has co-run A.D.NYC in the lower Manhattan since 2019. He lives and works in Brooklyn, NY.