Sam Anderson Returns!
January 13, 2026

1. At The Store, Ernest Hood, 2019
   
2. Footprints on the Moon, Johnny Harris, 1969
   
3. The Inspector Clouseau Theme, Henry Mancini, 1982
   
4. Thatcherie (from "Inner Space",) Sven Libaek, 2006
   
5. Ride a White Horse (Tiny Surf,) Sven Libaek, 2013
   
6. Le carnaval des animaux, R. 125: VII. Aquarium; Camille Saint-Saëns, Pascal Rogé, Cristina Ortiz, London Sinfonietta, Charles Dutoit; 1980
   
7. Baby Elephant Walk, Henry Mancini, 1962
   
8. Track Of The Cat, Pram, 2003
   
9. Tomoshibi, Shiho Yabuki, 2018
   
10. The Seventh Wave - Sailing Away, Suzanne Ciani, 1982
    
11. Pompeii 76 A.D., Gail Laughton, 2013
    
12. Deep Distance, Ashra, 1977
    
13. Sleepy Time, Raymond Scott, 1995
    
14. Tempo Block, Raymond Scott, 1995
    
15. Noonday Yellows, Ernest Hood, 2022
    

Sam Anderson is a sculptor whose work explores the fragile interplay between memory and the material world, as much through language as through form. Her rigorously arranged, often minimal compositions combine figures and objects that feel both intimately familiar and unsettlingly existential. Using materials such as clay, metal, plastic, resin, reclaimed wood, and fabric alongside everyday objects, Anderson constructs scenes that oscillate between the poetic and the uncanny, humor and pathos. Drawing from the visual language of American literature and cinema, personal history, and the slippages of linguistic play, Anderson’s work probes how meaning is constructed and deconstructed. Her sculptures inhabit the sad, often absurd space between expectation and desire, functioning like prototypes—she believes the prototype of an idea is often more sincere and open-ended than its final result. By reconfiguring interchangeable, everyday materials, she uncovers the latent narratives embedded within the mundane. Bio courtesy Derosia

Pam Lins
December 16, 2025

The wonderful Pam Lins joins us to share some favorite studio songs and talk about “Laterness,” her two-person show with Roger White at Uffner and Liu gallery in New York City through January 10, 2026. The title of the exhibition came from a conversation the artists had in the wake of Donald Trump’s second presidential victory: is it too late for action? How can one make work that is both an inflection and reflection of the political moment? What does it mean to be a maker situated in history?

The exhibition features collage works by White and sculptural floor works by Lins comprising quasi-modernist forms made from USPS flat-rate shipping boxes and ceramic birds inspired by John James Audubon’s (imaginary) “Mystery Birds.” A collaborative project by Lins and White inspired by Lins’ research into visionary architect and artist Frederick Kiesler forms the second part of the show. We dive deep into the role that investigations into history and archives play in her work, particularly the idea that bringing concepts and forms from the past into the present can illuminate the political and aesthetic economies of both times.

Looking at past exhibitions and bodies of work as well as past lives—a jeweler!—Lins charts her idiosyncratic relationship to craft, form, subject matter, and the complicated histories of sculpture and painting. With characteristic midwestern humility and wit, Lins talks about other collaborations, cultivating mushrooms, the vagaries of scale, the Vkhutemas school in 1920s Moscow, and whether or not sculpture is based on lying. Truly an enjoyable conversation with a singular artist!

1. Calling Occupants Of Interplanetary Craft (The Recognized Anthem Of World Contact Day), Carpenters, 1977
   
2. More Than This, 10,000 Maniacs, 1997
   
3. (Theme From) Valley of the Dolls, Dionne Warwick, 1968
   
4. The Letter, Arthur Russell, 2004
   
5. Everybody's Talkin' - From "Midnight Cowboy", Harry Nilsson, 1968
   
6. La La Love You, Pixies, 1989
   
7. Everybody's Talkin', Iggy Pop, 2022
   
8. Let Love Flow On, Sonya Spence, 1981
   
9. Fast Car, Tracy Chapman, 1988
   
10. Killing Me Softly With His Song, Fugees, Ms. Lauryn Hill, 1996
    
11. Silly Games, Janet Kay, 2016
    
12. Single Ladies (Put a Ring on It), Beyoncé, 2008
    
13. Superstar, Sonic Youth, 1994
    
14. Rockin' Back Inside My Heart, Julee Cruise, 1989
    
15. TNT, Tortoise, 1998
    
16. These Days, Cat Power, 2022
    
17. I'm Easy, Keith Carradine, 1975
    
18. Women of the World: Take Over, Jim O'Rourke, 2025
    
19. Jet Plane, Sonya Spence, 1978
    
20. Waterfalls, TLC, 1994
    
21. I Say a Little Prayer, Aretha Franklin, 1968
    
22. Let the River Run, Carly Simon, 1989

Pam Lins (b. Chicago, IL) earned an MFA from Hunter College, New York, NY in 1995. The artist has been in institutional exhibitions at venues including the American Academy of Arts and Letters, New York, NY (2022); Aldrich Contemporary Art Museum, Ridgefield, CT (2018); Museum of Contemporary Art Detroit, Detroit, MI (2017); White Columns, New York, NY (2015); the Lewis Center for the Arts at Princeton University, Princeton, NJ (2015); The Tang Museum, Saratoga Springs, NY (2012); The Suburban, Chicago, IL (2012); the Brooklyn Museum, Brooklyn, NY (2012); CCS Bard Galleries, Annadale-on-Hudson, NY (2012); Artists Space, New York, NY (2005); and the Socrates Sculpture Park, Queens, NY (2004). Lins has recently worked with artist-run spaces including Room 3557, Los Angeles, CA (2024) and was recently honored at the the KAJE Annual Benefit (2025). The artist was included in the 2014 Whitney Biennial, and is the recipient of multiple awards and fellowships, including The Louis Comfort Tiffany Foundation Award, The Anonymous Was A Woman Award, The Brown University Howard Foundation Fellowship, The John Simon Guggenheim Foundation Fellowship Award and the David and Roberta Logie Fellowship at the Radcliffe Institute for Advanced Study at Harvard University. In 2007, Pam Lins and Trisha Baga cofounded Ceramics Club, an ever-evolving, direct action organization that brings artists together to collaborate and raise money for a variety of progressive causes. Ceramics Club will partner with White Columns for an upcoming benefit exhibition in November 2025. Lins has held teaching positions at The Cooper Union, The Milton Avery MFA Program at Bard College, and Princeton University where she is currently the Interim Director or the Visual Arts Program. Her work is in the permanent collection of the Tang Museum, Saratoga Springs, NY. Lins lives and works in Brooklyn, NY.

Meredith James
December 2, 2025

The charming artist Meredith James joins the Selection Committee Radio Show to discuss her current show “The Exit” at Marinaro Gallery in New York through December 13, 2025.

In 2019, James became intrigued by a building near her home in TriBeCa. After some finagling she managed to get inside and take some pictures of an abandoned office space—designed for efficiency with low cubicles and drop ceilings—which eventually led to the work in “The Exit.” Depicted in each of the four photographs in the exhibition is a mirror, and reflected in each of the mirrors is another mirror. James then translated the resulting mesh of nested spaces into four exquisitely produced dioramas which represent the reflected images in a fractured, uncanny three dimensions. Each one is a kind of ontological puzzle box, with the viewer trying to piece together the logic of the space and missing, like a vampire, her own reflection.

James’ focus on the relationship between image, space, and experience is evident in her earlier work as well. Day Shift, 2009, features a security guard who watches a closed-circuit monitor of what looks like the same office she is sitting in. She leaves the office and walks through whatever space the work is shown in (James reshoots this part of the video every time the work is shown in a new place) and goes out to her truck—where she climbs through the back window into a miniaturized version of the office space. The video is then displayed on the closed-circuit monitor in the miniaturized office space installed in the gallery, retranslating the logic of cinema and dreams back into the real world.

Her work often incorporates these kinds of practical effects as well as optical illusions that push questions of scale and perspective, and she insistently uses only analog effects. We discuss many more of James’ pieces, including her large-scale public sculptures, and what it means for people to interact with her work, particularly people outside the art world.

James is a sculptor at heart, and we talk about her belief from childhood that objects can carry with them not only the history of their use and the lives they have touched, but also past time itself. In that sense her work doesn’t just create visual and conceptual loops, but time loops as well.

Inspired by sources as varied as Maya Deren, Chantal Ackerman, walks around the city, and the cartoon Adventure Time, James’ work always contains a sincere meditation on the time and space of living. Along with a playlist of very personal songs, Meredith brings an illuminating conversation about her kaleidoscopic point of view.

1. Seven Days: Tuesday Afternoon, Gregory Spears, Pedja Muzijevic, 2025
   
2. Rain, The Clientele, 2000
   
3. (I Can’t Seem to) Make You Mine, The Clientele, 2005
   
4. Place To Be, Nick Drake, 1972
   
5. The Devil Is Loose, Asha Puthli, 1976
   
6. I'll Be Your Mirror, The Velvet Underground, 1967
   
7. Pillow Talk, Sylvia, 1996 
   
8. Hey Cowboy, Lee Hazelwood & Nina Lizell, 1970
   
9. Happy New Year, Camera Obscura, 2001
   
10. By the Sea, Wendy & Bonnie, 1969
    
11. Time Adventure (feat. Olivia Olson, Niki Yang & Hynden Walch), Adventure Time, 2018
    
12. Waving to You (feat. Rebecca Sugar), Adventure Time, 2018
    
13. Source Decay, The Mountain Goats, 2002
    
14. Another Girl Another Planet, The Only Ones, 2006
    
15. Granny, Vic Chesnutt, 2009
    
16. Charlie Zink, Bob Martin, 1972
    
17. Chelsea Hotel #2, Leonard Cohen, 2002
    
18. Every You Every Me, Placebo, 1998
    
19. Where Is My Mind?, Pixies, 1988
    
20. Clouds, Hiroshi Yoshimura, 2017

Meredith James completed her AB at Harvard University and her MFA at Yale University. She had a museum exhibition at the Queens Museum, NY and has had solo shows at Jack Hanley Gallery, NY; LaMontange Gallery, Boston; and Marc Jancou, NY. She has installed major public art projects at Socrates Sculpture Park, NY; The Rose Kennedy Greenway, Boston; and Lieu Histrorique National Center-Brébeuf, Quebec City.

Eileen Quinlan
November 18, 2025

Appropriately enough for her gritty, challenging, yet lyrical work, the great photographer Eileen Quinlan joins me with a playlist about heartbreak.

In this wide-ranging conversation, Quinlan discusses the arc of her career, from her breakout body of work in grad school to her most recent experiments. Consistent throughout her explorations in photography is a focus on process, mortality, and the haptic.

Quinlan goes into the long-established relationship between photography and mortality and how moments of flux and change are central to her project. For her, this focus on transformation includes both the subject(s) of the photographs as well as the photographic medium itself.

Working in a “wrong and slightly backwards way,” Quinlan has always used experimentation as a key modality in her process; her failures become a kind of language, the focus of the work, the evidence of her struggle or hand. We discuss how she came to work in this way—her background in advertising and commercial photography and her early fascination with spirit photography—and how the process has informed her development as an artist.

With a great sense of humor Eileen Quinlan tackles big questions of photography and life—listen in!

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

1. Bring It On Home to Me, Sam Cooke
   
2. Everything She Wants, Wham!
   
3. Ex-Factor, Ms. Lauryn Hill
   
4. Grapevine, Weyes Blood
   
5. Happiness is a butterfly, Lana Del Rey
   
6. Heartbreak Anniversary, GIVĒON
   
7. Idiot Wind, Bob Dylan
   
8. I Know It's Over, Jeff Buckley
   
9. I'm So Tired, The Beatles
10. Isn't It A Pity, Galaxie 500
    
11. Never Let Me Down Again, Depeche Mode
    
12. Pissing In a River, Patti Smith
13. Shivers, The Boys Next Door
    
14. Sour Times, Portishead
15. Trouble, Yusuf / Cat Stevens
16. The Wedding List, Kate Bush
17. You Don't Know What Love Is, Chet Baker

Eileen Quinlan (b. 1972, Boston) earned her MFA from Columbia University in 2005 and had her first solo museum exhibition, My Eyes Can Only Look at You, at The Institute of Contemporary Art, Boston in 2009. Her first survey show, Wait For It, at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, was held in 2019. In the spring of 2023, Quinlan’s seventh solo exhibition at Miguel Abreu Gallery, The Waves, was presented.

Quinlan’s work was included in New Directions at the Eastman Museum in Rochester (2024); Changes, mumok, Vienna (2022–23); Warhol, People and Things, Casa São Roque, Porto, Portugal (2022–23); Invitational Exhibition of Visual Art, American Academy of Arts and Letters, New York (2022); Artist’s Choice: Amy Sillman—The Shape of Shape, Museum of Modern Art, New York (2020), Objects Recognized in Flashes, a major group exhibition curated by Matthias Michalka, at mumok, Vienna, alongside Michele Abeles, Annette Kelm, and Josephine Pryde (2019); Passer-by, Lafayette Anticipations, Paris (2019); Picture Industry: A Provisional History of the Technical Image, 1844–2018, LUMA Foundation,
Arles (2018); VIVA ARTE VIVA, the 57th International Art Exhibition, curated by Christine Macel, Venice Biennale(2017); and Always starts with an encounter: Wols/Eileen Quinlan, organizedby Radio Athènes and curated by Helena Papadopoulos, Museum of Cycladic Art, Athens (2016).

Previously, Quinlan participated in Image Support at the Bergen Kunsthall, What Is a Photograph? at the International Center for Photography, New York, and New Photography 2013 at the Museum of Modern Art, and in other group and solo exhibitions at the Metropolitan Museum of Art, the Hammer Museum, White Columns, the White Cube Bermondsey, the Langen Foundation, Mai 36, Miguel Abreu Gallery, Marian Goodman Gallery, Andrea Rosen Gallery, and Paula Cooper Gallery, and Emanuela Campoli Gallery, among others.