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Nick Irzyk
Obsession
David Kennedy Cutler
Jen Mazza
How to Handle Rejection
Jeff Williams
Winter Dance Party
Caitlin Keogh
New Year’s Show
Firestone Xmas
Nicholas Sullivan
Murder Ballads
David Humphrey
Jacob Jackmauh
Josiah McElheny
Michael Smith
Our Day Will Come
Jake Brush
Barry Stone
Spring Let’s Go!
Blake & Duncan 
St. Patrick’s Day
&&&
Zachary Pace
Daniel Boccato
January 2024
Phil Hinge
Will Heinrich
Mariah Robertson
Nate’s Birthday
Maija Makinen
Rebecca Bengal
Decade of Naughts
Marie Lorenz & Kurt Rohde
Abigail DeVille Theme Songs
Josephine Halvorson
Cameron Martin
Noel W. Anderson
Clynton Lowry
Douglas A. Martin
Emily Mae Smith
Peter Duchan
Robert Buck
Bobbie Abate
Candystore Returns
Halloween ‘22
Matt Saunders
Nathlie Provosty
Jarrett Earnest
Labor Day Afternoon
Dog Days Dance Party
Miles Huston
Dave King
Hoa Nguyen
Shaun Krupa
Cheyney Thompson
Robert Spees
Halsey Rodman
Taylor Baldwin
Dad Night Drive
Ginny Wiehardt
Wells Chandler
Lucia Love
Sad Covid Show
Candystore
Jim Gaylord
Douglas & Villalobos
Anne Eastman
Michel Auder
Douglas, Valladares & Villalobos
Chang Sujung
Gaby Collins-Fernandez
Ian Swordy
Ian Pedigo
Al Freeman
Sam Anderson
David Adjmi
Hanna Pylväinen
B. Wurtz
Adam Henry
Seung-Min Lee
Katie Vida

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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:

Artist Greg Carideo, June 3rd 4-6pm 
Artist Pam Lins

`
Nate Heiges, Benson & Hedges, 28” x 38.5”, 2018.
Matt Taber/International Waters
Landscapes of Fear, 5.2.2025 - 6.22.2025
 May 20th, 2025

Complete playlist below; tracks in yellow were cut for time.
  1. Arkansas Coal, Nancy Sinatra, Lee Hazlewood, 1972
  2. Into the Void, Black Sabbath, 1971
  3. Welcome to My Nightmare, Alice Cooper, 1975
  4. Fire, The Crazy World Of Arthur Brown, 2010
  5. I'm a Gun, Lorne Greene, 1966
  6. Walkin' After Midnight, Patsy Cline, 1957
  7. Indian Love Call, Slim Whitman, 2010
  8. The End of the World, Skeeter Davis, 1994
  9. River Stay 'way from My Door, The Boswell Sisters, 2013
  10. Down By The River, Buddy Miles, 1970
  11. In the Year 2525, Zager & Evans, 2006
  12. Highways, Jim Sullivan, 2010
  13. It Never Rains in Southern California, Albert Hammond, 1972
  14. I Can't Stand the Rain, Ann Peebles, 1974
  15. Little Child Runnin' Wild, Curtis Mayfield, 1972
  16. Let's Burn Down The Cornfield - 2006 Remaster, Lou Rawls, 1970
  17. Synthetic World, Swamp Dogg, 2008
  18. On a Clear Day You Can See Forever, The Peddlers, 1993
  19. In My Room, The Walker Brothers, 1990
  20. Hospital, The Modern Lovers, 1976
  21. Don't Go Near The Water, The Beach Boys, 1971
  22. I'm Afraid of Americans, David Bowie, 1997
  23. Black Hole Sun, Soundgarden, 1994
  24. Darklands, The Jesus and Mary Chain, 1987
  25. I Guess the Lord Must Be in New York City, Harry Nilsson, 2013
  26. 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.
Nick Irzyk
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.
  1. Her Friends the Wolves, Coil, 1992
  2. Rauch-Haus Song, Ton Steine Scherben, 1972
  3. Hand of Doomish, Vincebus Eruptum, 2008
  4. Good Lovin’ Outside, BBC Version, Animal Collective, 2004
  5. This Ol’Cowboy, Marshall Tucker Band, 1974
  6. My Head is My Only House Unless It Rains, Captain Beefheart, 1972
  7. Samurai, Alan Vega, 2021
  8. Spirit of the God of Fire, Beherit, 2007
  9. Wrath of Zeus (Original Mix), The Eternals, 2000
  10. GeekUSA LateNiteTip, Gobby, c. 2012
  11. I Lied When I Said I Liked Your Zine, Charles Bronson, c. 1994-7
  12. Speed of Greed? Crass, 1983
  13. A Cowboy Overflow of the Heart, The Avalances & David Berman, c. 2012
  14. Spinebender, Godflesh, 1988
  15. Haunted & Nervous, Sizzla, 1996
  16. Flowers, Chug, 1992
  17. Some Came Running, Bane, 2001
  18. The Knife Song, Milk
  19. Free, Chakra, 1981
  20. 1471, Babyfather, 2022
  21. To Hold You, Minimal Man, 1985
  22. Quin Boys II, Jandek
  23. 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.



Songs of Obsession
April 8th, 2025

For this music-only episode, host Nate Heiges brings songs of obsession and longing. Get ready for some Spring Fever...



  1. We All Wear a Green Carnation; from Noel Coward's 1929 operetta ‘Bitter Sweet’: Michael Chance, Tom Griffin, Clive Walton, David Kinder, 2018
  2. You Do Something to Me, Sinéad O'Connor, 1990
  3. Blue Skies, Maxine Sullivan, 1998
  4. Seasick, yet Still Docked, Morrissey, 1992
  5. I Only Have Eyes for You, Tashaki Miyaki, 2015
  6. Somebody to Love, Barbara & Ernie, 1971
  7. Love Will Tear Us Apart, PJ Harvey & Tim Phillips, 2024
  8. I Won't Be Free After Sunday, Female Species, 2021
  9. Babe I'm Gonna Leave You, Led Zeppelin, 1969
  10. Why Don't You Do Right (Get Me Some Money Too), Peggy Lee, 1948
  11. I Can't See Nobody - Daniel Y. Remix, Nina Simone, Daniel Yaghoubi, 2006
  12. Wicked Game, Chris Isaak, 1989
  13. The Silence Said It All, Female Species, 2021
  14. The Look Of Love, Pt.1, ABC, 1982
  15. Speedway, Morrissey, 1994
  16. A&W, Lana Del Rey, 2023
  17. All I Want, Joni Mitchell, 1971
  18. I'm Gonna Leave You - The Cinematic Orchestra Remix, Melanie De Biasio, The Cinematic Orchestra, 2015
  19. Midnight Monday, And A Telescope, Cotton Jones, 2008
  20. Transmission for Jehn: Gnossienne No 1 - Exclusive Spoken Word, Geoffrey Muller, Tierney Malone, 2020
  21. Uno che grida amore, Ennio Morricone, 2006

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David Kennedy Cutler
March 25, 2025

Artist David Kennedy Cutler brings us a mixtape in honor of his show Second Nature up now in New York City. He’s “moving in” to Derek Eller gallery with works that mine the everyday, everything rendered as replete replications using his extraordinary process. “Each piece originates from photographs shot at home or in the studio (or gallery, when I perform), which are then fed through digital-imaging software, converted through an inkjet transfer technique into various cut and collaged layers or skins, and held together on either a prefabricated or constructed armature—where finally painting and sculpture techniques enhance and obscure any sense of origination.”

Over the past ten+ years David has also been making copies of himself, creating a new döppelganger each time he does a performance. The penultimate iteration of this process saw 5 Davids Kennedy Cutler all signing books at the launch of a monograph about another performance with his doubles, “Off Season.” For that performance Cutler spent 10 weeks living in the *closed* Halsey McKay Gallery in East Hampton, NY. With only his clones and a webcam for company, he built structures, made paintings and sculptures, and created an alternative reality where he was creating a new society at the end of the world.

This obsession with repetition and reproduction has also found its way into a practice that involves making publications and editions. He’s collaborated often with other artists like Sara Greenberger Rafferty and Ethan Greenbaum, (the three of them as &&& were previous guests on The Selection Committee,) who share his interest in multiplicity, imaging, mediation, and software.

David is a great storyteller, and he has a lot of stories to tell about inspired collectors, other performances, and other artists who inspire him. Join us for a fascinating conversation.

Apple Podcasts︎ 
Spotify ︎
Complete playlist below; tracks in yellow were cut for time.

  1. Mess, Scratch Acid, 1991
  2. My New House, The Fall, 1985
  3. Cloudy Day, Tom T Hall, 1969
  4. Hymn, Diane Coffee,     
  5. Come On, Tommy McGee, 2016
  6. Black Foliage (Itself), The Olivia Tremor Control, 1999
  7. This is how we walk on the Moon, Arthur Russell, 1994
  8. Hidden Song, Delia Gonzalez, 2017
  9. Black Panta, Lee "Scratch" Perry, 2004
  10. Headlights, Pets, 2023
  11. Rainbow 65 (full version), Gene Chandler   
  12. No Side To Fall In, The Raincoats, 1979
  13. Government Cheque, Cindy Lee   
  14. Forced To Drive, The Breeders, 2002
  15. History Lesson - Part II, Minutemen, 2019
  16. Virtually Nothing, 100 Flowers, 1983
  17. The Commercial, Wire, 1977
  18. I'm On the Side of Mankind as Much as the Next Man, McCarthy, 1990
  19. I'm Sad About It, Lee Moses, 2007
  20. Windsor Hum, Protomartyr, 2017
  21. When It's Over, The Soft Moon, 2010
  22. Dimed, Stuck, 2020
  23. I Go To Sleep, Anika, 2010
  24. Don't Let Our Youth Go To Waste, Galaxie 500, 1988               

David Kennedy Cutler (b. 1979, Sandgate, VT; lives and works in Brooklyn, NY) received his BFA from The Rhode Island School of Design in 2001. He was recently featured in an Artist Project in Artforum (January 2024) and received a NYFA grant for interdisciplinary work (July 2024). He has had solo exhibitions at Halsey McKay Gallery (East Hampton, NY), Essex Flowers (NYC), The Centre for Contemporary Art (Tallinn, Estonia) and Nice & Fit (Berlin, Germany). Cutler has performed in various spaces in New York including Klaus von Nichtssagend Gallery, Essex Flowers, Printed Matter, Halsey McKay, and Flag Art Foundation, and internationally at the Center for Contemporary Arts Estonia, among others. He has been included in group exhibitions internationally. His works are part of the the permanent collections of the Wellin Museum at Hamilton College and The RISD Museum, and his artist’s books are included in the libraries of the Whitney Museum, The Yale Arts Library, and the Brooklyn Museum.