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The Selection Committee
RADIO SHOW


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LIVE every other Sunday from 2-4pm
on Newtown Radio


in association with
International Objects & International Waters

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Past shows can be streamed below, or on Mixcloud.



Upcoming shows:


5/14: painter Josephine Halvorson

6/11: artist Abigail Deville

6/18: artist Marie Lorenz

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Josephine Halv0rson
May 14, 2023



Complete playlist below; tracks in yellow were cut for time.

  1. Ironbound/Fancy Poultry, Suzanne Vega, 1987
  2. Small Blue Thing, Suzanne Vega, 1985
  3. For Free, Joni Mitchell, 1970
  4. Diamonds & Rust, Joan Baez, 1975
  5. My Father, Judy Collins, 1968
  6. My Father/Dialog, Nina Simone, 1971
  7. Bridges, Tracy Chapman, 1990
  8. Have You Ever, Brandi Carlile, 2007
  9. Weather, Meshell Ndegeocello, 2011
  10. This Old Town, Nanci Griffith, 1993
  11. A Sorta Fairytale, Tori Amos, 2002
  12. Georgia O, The Nields, 1998
  13. Firedoor - Worcester, Mass; Ani Difranco, 1997
  14. Dirty Computer, Janelle Monae, 2018
  15. Unfinished Life, Kate Wolf, 1981
  16. I’m Alive, Beth Ditto, 2018
  17. Who Knows Where the Time Goes—BBC Sessions 1971-73, Sandy Denny, 1974
  18. Nick of Time, Bonnie Raitt, 1989
  19. Spellbound, Judy Collins, 2022
  20. Travel So Far, Joan Armatrading, 1975

An artist somewhere on the spectrum between street busker and rock star, painter Josephine Halvorson starts off her show with two classic Suzanne Vega songs, chock full of observations, sensation, and a sense of place that is both specific and quotidian. They set the tone for our conversation about Halvorson's work, her background, the death of her father, and her recent show at Sikkema, Jenkins & Co. in New York City.

She describes her peripatetic process, which began when she was a teenager painting on Cape Cod: She goes out into the world to find her subjects, then makes her paintings in situ, working en plein air to capture a thing or a moment, usually quite close-up, and often in transition. We talk about what it’s actually like to paint outside as well as her love of artistic endeavors that happen in public, from murals and photography to hip hop and skateboarding.

Josephine discusses the technical problems of mixing color over time under changing conditions and why she switched from using oil paint on linen to acrylic gouache on a specially prepared ground. She explains the role ancient frescoes played in this technical transformation, and how funerary frescoes related to conditions of mourning and temporality. Traditional genres of memento mori, vanitas, and still life painting also relate to this history and take their place in the construction of Halvorson’s work.

This tender, all-women playlist is a reflection of the lifelong pursuits that Josephine has been engaged in. Whether she is painting out of a van or in the storied studios of the American Academy in Rome, Josephine Halvorson has a warm but relentless mission to convey the conditions of marking time.

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Josephine Halvorson (she/her) makes art that foregrounds firsthand experience and takes the form of painting, sculpture, and printmaking. Born in Brewster, Massachusetts, she studied at The Cooper Union (BFA 2003), Yale Norfolk (2002), and Columbia University (MFA 2007). In 2021, she was awarded a John Simon Guggenheim Fellowship. Halvorson is the recipient of major international residencies and fellowships: The US Fulbright to Vienna, Austria (2003-4), the Harriet Hale Woolley at the Fondation des États-Unis in Paris, France (2007-8), and was the first American pensionnaire at the French Academy in Rome at the Villa Medici (2014-15). Her work has been exhibited internationally and is represented by Sikkema Jenkins & Co., NY, and Peter Freeman, Paris. Selected exhibitions include SECCA (2015), Storm King Art Center (2016), the ICA Boston Foster Prize Exhibition (2019-20), and Ríos Intermitentes, a group exhibition curated by Magdalena Campos-Pons as part of the Havana Bienale (2019). In 2021 she presented a solo exhibition of site responsive work at the Georgia O’Keeffe Museum in Santa Fe, NM, where she was an artist in residence. Halvorson’s work and practice have been written about extensively and she is a subject of Art21’s documentary series New York Close Up. She is Professor of Art and Chair of Graduate Studies in Painting at Boston University and lives in western Massachusetts.


Assembly, 2022, acrylic on canvas, 55 x 44″ Scale Remainder, 2022, acrylic on canvas, 75 x 60″

Cameron Martin
May 7, 2023



Complete playlist below; tracks in yellow were cut for time.

  1. Labor Leisure, Stuck, 2021
  2. Blanket, Autolux, 2004
  3. Oscillator, Satisfact, 1996
  4. Useful, United Schach Corporation, 1999
  5. Submission, Dumb, 2019
  6. Frustration, Programmique, 2021
  7. Modern Romance, The Rapture, 2001
  8. Mr Your On Fire Mr, Liars, 2001 
  9. Ruling, LIIEK, 2020
  10. No Light, Meat Wave, 2017
  11. Get Off, Metz, 2012
  12. Blind, Smirk, 2021
  13. Falling Down, RAS, 2009
  14. Willing, Deeper, 2020
  15. Thought, Blessed, 2019
  16. Rana, Pitchfork, 1990
  17. Beat Fall, Lithics, 2020
  18. Blankenship, DIIV, 2019
  19. RyBro, Helvetia, 2012 
  20. Imagine Hearts, Ringo Deathstarr, 2011
  21. Wisdom, The Brian Jonestown Massacre, 1995
  22. Honey Power, My Bloody Valentine, 1991
  23. Little Judas Change, Melvins, 2002

I first encountered Cameron Martin’s work almost 20 years ago. At the time, he was making subtle, elegant, paintings of natural formations, from tightly-cropped clusters of boulders sloping into the sea to stark Fuji-style depictions of a mountain (Mount Rainier?) rendered in dark bruise-purples. From there his work has developed into a focused exploration of pure abstraction drawing upon histories of art and design, as well as the visual background noise that surrounds us in our printed, built, and digital environments.

Lately, Cameron has been making a series of post-punk/new wave playlists called Easy Listening for Rockers composed of music from his youth through today. It should come as no surprise that as soon as I started listening to them I wanted to have Cameron on the show. And boy, does he deliver—giving us a pugnacious mixtape featuring Meat Wave and other great and lesser-known bands!

Martin talks about growing up in Seattle in the 80’s and early 90’s during the efflorescence of the alt-rock and nascent grunge scenes. He talks about his deeply satisfying stint as a child laborer at the iconic music store/skate shop/venue Fallout, and the amazing people he met there. Fallout also sponsored his own skating career, and Martin describes the reality of being a skater in Cascadia (too much rain to skate outside) and how it led to the development of his own freestyle skating technique. It was probably impossible to grow up in that kind of environment and not start your own bands, and fortunately for us Cameron shares some music he made when he was young (United Shach Corporation) and some music made with a group of artists and friends with whom he continues to play (RAS). Cameron now plays with his 11-year old son in a band called Headache—keep your eyes peeled for flyers.

This is a great show! Check out Easy Listening for Rockers here, and follow his wild abstraction hunting on instagram.

Cameron Martin’s work seeks to redress the role of contemporary abstraction, situating the abstract as a site of potential, a self-consciously generative force that enlivens fictive possibility. Metabolizing histories of expression, appropriation and current digital platforms, the work seeks to blur the line between the mechanical and the handmade in an effort to dismantle categorical distinctions At once of this moment and historically aware, Martin’s paintings address framing and interface as fundamental to images’ interpelletive function, utilizing transparency, patterning and optical phenomena to asymptotically approach representational possibilities.

Born in Seattle, WA in 1970, Martin received his BA in Art/Semiotics from Brown University and continued his studies at the Whitney Independent Study Program. He has exhibited at venues including the Whitney Museum, St Louis Art Museum, Columbus Museum of Art, City Gallery (Wellington, New Zealand), and Tel Aviv Museum. His work is in the collections of the Whitney Museum, New York; Albright-Knox Gallery, Buffalo, NY; Minneapolis Institute of Art, MN; and Saint Louis Art Museum, MO, among others. Martin is a recipient of the John Simon Guggenheim Memorial Foundation Fellowship (2010), the Joan Mitchell Foundation Fellowship (2008), and the Artists at Giverny Fellowship and Residency (2001).
Cameron is represented by Sikkema Jenkins & Co.

Noel W. Anderson
April 2, 2023


Complete playlist below; tracks in yellow were cut for time.

  1. Merry Go Round, The Equatics
  2. Cruisin’ to the Parque, Durand Jones & The Indications, feat. Y La Bamba
  3. Planet Caravan, Black Sabbath
  4. On Love, David T. Walker
  5. Something to Rap About; Freddie Gibbs; The Alchemist; feat. Tyler, the Creator
  6. Mints, Uniting of Opposites
  7. Hope; Don Cherry, Tommy Koverhult, Tommy Goldman, Maffy Falay, Tage Siven, Okay Temiz
  8. Overcomer, Royce Da 5’9, Westside Gunn
  9. Dos Gardenias, Buena Vista Social Club
  10. Candela, Buena Vista Social Club
  11. Dos Gardenia, Angel Canales
  12. At Your Best (You Are Love), Aaliyah
  13. Pelle Di Luna, Piero Umiliani
  14. Mosadi (Woman), The Crusaders
  15. Ponta de Faca, Sessa
  16. Dern Kala, Khruangbin
  17. Arrival, The Alchemist
  18. The Mexican, Babe Ruth
  19. Running Up That Hill (A Deal with God), Kate Bush
  20. Mother Stands for Comfort, Kate Bush
  21. Awake O Zion, Elbernita “Twinkie” Clark


Artist Noel W. Anderson brought one of my favorite playlists to date on this Palm Sunday show, and no wonder—music (and movement) plays a profound role in both his studio practice and his everyday way of being.

When I first met him, Noel’s work was primarily performance-based, but his more recent work involves appropriating images from both archival and commercial sources and translating them into woven tapestries. The textiles are made in France and the American South using the 18th-century Jacquard weaving technology, which employs a kind of binary code and helped to inspire the earliest mechanical computers. When the tapestries get to the studio, he then abrades, snags, stains, and otherwise distresses them in a process reenacting the vicissitudes of time and abuse. Anderson discusses the writing of artist Hito Steyerl, and how her concepts of “rich” vs “poor” images informs his work. We talk about how much his work and process owe to theories of language and performance from Heidegger, Derrida, Fred Moten, and Michel de Certeau. How chains of etymological meanings open up meandering paths through form, history, and interpretation.

Noel talks about recent, past, and upcoming shows which are organized into three parts and all consider the contemporary condition of Blackness as he sees it: Black excellence, Black exhaustion, and Black erasure. This structure provides a framework for Noel to connect form and story (and for James Brown to make some surprise appearances).

Peppered throughout the convo are stories about Noel growing up in a church family in Louisville, DMX, Clint Eastwood, and his point of connection with former President Donald J. Trump. (It's The Phantom of the Opera, folks.)

Noel W Anderson (b. Louisville, KY) received an MFA from Indiana University in Printmaking, and an MFA from Yale University in Sculpture. He is also Area Head of Printmaking in NYU’s Steinhardt Department of Art and Art Professions.

Anderson utilizes print-media and arts-based-research to explore philosophical inquiry methodologies. He primarily focuses on the mediation of socially constructed images on identity formation as it relates to black masculinity and celebrity.  In 2018, Noel was awarded the NYFA artist fellowship grant and the prestigious Jerome Prize. His solo exhibition Blak Origin Moment debuted at the Contemporary Arts Center (Cincinnati) in February 2017 and travelled to the Hunter Museum of American Art in October 2019. His first monograph, Blak Origin Moment, was also recently published.

Clynton Lowry
March 5, 2023



Complete playlist below; tracks in yellow were cut for time.

  1. Back To Life (However Do You Want Me), Soul II Soul, Caron Wheeler
  2. Set Adrift on Memory Bliss, P.M. Dawn 
  3. Come Into My Life, Joyce Sims 
  4. Into The Groove - Edit, Madonna
  5. Spring Love, Stevie B
  6. What’s My Name, DMX
  7. It’s Mine (feat. Nas), Mobb Deep
  8. It Takes Two, Rob Base & DJ EZ Rock
  9. New N3on, Playboi Carti
  10. My Own Summer (Shove It), Deftones
  11. Cheenaroka, Alan Vega
  12. Falling and Laughing, Orange Juice
  13. Waiting on a Friend, The Rolling Stones
  14. The Secret Life of Arabia, David Bowie
  15. Massacre, Thin Lizzy
  16. Shallow Water, The Flesh Eaters
  17. Drugs Drugs Drugs, Tonetta
  18. Strutter, KISS
  19. Doggies, Bernard Herman
  20. Casual Eye-to-Eye Affair, Mimi Vett
  21. Speak English, Mimi Vett
  22. Art Handler Theme Song, Phil Cote 


Artist and writer Clynton Lowry brings a particularly smooth and sweet mixtape to the show—a tribute in part to his musical family and his youth in LA and Philly. We talk about his life after getting an MFA from Yale and his day job working as an art handler. Trying to figure out ways to survive creatively and financially, Lowry began to think about strategies for making art outside of the gallery system in which he was already working every day. The result was “studio gear”, including sleeping bags, jackets, and sweat suits made out of the ubiquitous moving blankets that are a fundamental component of art shipping (this work is currently on view in the show Local Objects at International Objects in Brooklyn). Both authentic and chic, these objects helped inspire the creation of Art Handler, an art journal from/about the people who work behind the scenes in galleries, museums, and private collections. This work fueled Lowry’s friendships with fashion icons like Virgil Abloh and Heron Preston (and the subsequent appearance in Louis Vuitton, Off-White, and Burberry of Art Handler aesthetics on the runway). We talk about the role fashion has played in Lowry’s thinking and find out what would be his intro/theme music: "What’s My Name" by DMX.

More recently, Clynton’s work has explored the obverse of fashion: the disappearing of the labor/laborer from art spaces. His work The Invisible Art Handler was featured in the exhibition “In Support” at The Kitchen, New York, NY (2021-22). This included a series of six site-specific, augmented-reality videos which portrayed ordinary maintenance tasks being performed by a person who has been digitally removed from the image. Recalling the willful abnegation of Ralph Ellison’s Invisible Man, the work is both funny and devastating.

Finally, we talk about Clynton and Art Handler’s excellent instagram account, his latest show at Soldes in LA, and the incredible resource that he created for art workers, jobs.art. This is a great show with great music—thank you, Clynton!